Archive for the ‘Ray Charles’ Category

The Spencer Davis Group

Monday, November 18th, 2013

Listen: I Can’t Stand It / The Spencer Davis Group
I

Imagine my thrill in ’75, stumbling on one of those big tubs full of 10 for $1.00 singles in JM Fields, the massive department store, somewhat a forerunner to Wal-Mart. They were few and far between then, and my memory has zero recollection of it ever happening again.

This was the outskirts of Syracuse and the result of a completely unplanned stop to buy God knows what. No wonder I turned to drugs soon after, it was the only way to replicate the high. I systematically dug through this pile a few times, insuring not one was overlooked. I shudder to imagine what I may have left behind, but regardless, the gem of the day was The Spencer Davis Group ‘I Can’t Stand It’. Rare even then, extinct now.

‘I Can’t Stand It’ was the band’s second UK single, but first in the US, and only release on Fontana. Tame by comparison to later A sides, still Steve Winwood’s undeniable Ray Charles styled vocal surely must have been the envy of every other white singer in England, all desperate to sound black.

Tiny

Thursday, May 5th, 2011

Ah! Shucks Baby / Tiny

Listen: Aw! Shucks Baby / Tiny
Aw! Shucks Baby / Tiny

Not unlike Big Maybelle, Tiny could belt it out. With only a few minor hits to claim, she came and went in relative obscurity. Despite being signed to King/Federal, and touring with, amongst others, Joe Turner, Bo Diddley, Little Willie John, Etta James and Ray Charles, it seems her star never properly shined. From the sound of this single, she was a powerhouse. Originally released in ’57 (she was signed from ’57 – ’60), King decided on reissuing this, her most successful record in ’63 which is pressing above.

I was in Washington DC in the early 90′s, returning to New York on a Sunday. Duane and I were there to see a band for Medicine, my label. Next morning, I scoured the yellow pages for a vinyl shop. One small listing was close by and sounded interesting, claiming doo-wop, gospel and blues amongst it’s specialties, so we gave it a go.

It was in a pretty run down section of town and to be honest, we were the only two white folks in sight. The elderly man who ran the place, as he had for 30+ years, was behind the counter making small talk with a few women his age, all in their Sunday best, fresh from church. The shop was filled with cds and only a small section of 7″ vinyl in a back corner, not at all like he described his stock when I’d called earlier. Even more frustrating, the very vast majority of them were recent reissues. Really dreadful.

But I did notice a few Chess, Checker and King originals amongst them, all of which I selected and eventually made my way up to the counter with them in hand. Duane too had picked out a bunch. When I asked the price, he looked through them and said “They’re usually $4 but I think we should have a half price sale today, seeing as you boys have chosen some really nice stuff here”.

We immediately launched into all kinds of questions – from both sides. “How did we know about these records?” from him, and “Did you ever get to see Inez & Charlie Foxx or Slim Harpo?” from us. That kind of banter. We were having a great old time. Then he says “It’s about time to close but if you’d like, I’ll let you into the basement. I have a lot more records down there and you might find a few good ones”. We were taking the shuttle home, they flew hourly and therefore in no hurry. Seemed a little odd to close your shop midday (it was at that point around 2pm) and invite the only two customers, behind the counter then down to the basement. We took the chance.

Oh my God, the place was heaving with boxlots of 45′s. Loads and loads, mostly Chess and King. He came down and started spinning Sonny Boy Williamson and Hank Marr records, so many others too. We were there for hours, high as kites on the buzz. I still ask Duane, what were we thinking? We should have bought them all. I came home with at least 200, all in company sleeves. Tiny’s ‘Aw! Shucks Baby’ was just one of the endless jems.

After all that, this truly kind, gentle and generous man drove us to the airport in his big old, polished, oversized 70′s car, going way below the speed limit, in true fashion. It was like a little kid’s first ride in a stretch, and the stories about the past, like seeing shows at The Howard Theatre, kept flowing. Duane recalls his name being Christian, but in the high of the moment, we didn’t exchange contact info, a real regret. Still, a priceless memory for life.

King Records Warehouse

Above: A shot of the King Records shipping room. I wonder if any of Tiny’s were being picked and packed?

The Raeletts

Monday, April 18th, 2011

Listen: Leave My Man (Woman) Alone / The Raeletts
Leave My Man (Woman) Alone / The Raeletts

Having developed a liking for early Ray Charles records meant the net was cast, and all things remotely related dragged in. Enter The Raeletts. Although sometimes referred to as The Raelettes, depending on which single you’re holding, various early members are mentioned/not mentioned in the their lineup. The more famous, like Mable John, Merry Clayton and Minnie Riperton, all got a run for their money by vocalist Vernita Moss, more often than not, criminally overlooked.

Her ad libs on ‘Leave My Man (Woman) Alone’ are priceless, seldom heard on record at that time. Tangerine, Ray Charles’ imprint, released some raw and earthy records in the late 60′s/early 70′s patch, and this is one. Relegated to the B side didn’t mean it could hide for long.

This copy was shipped in the above company sleeve. One side of which is an all white front, revealing the record’s label copy through a standard, circular hole, while the back is a uncut, color picture of the generic Tangerine artwork.

The Raeletts appeared many times on US television, including THE MIDNIGHT SPECIAL, many times with Vernita Moss.

Ray Charles

Wednesday, December 1st, 2010

Listen: Tell The Truth / Ray Charles RayCharlesTellTheTruth.mp3

Ok, I’m on a roll. The sudden discovery of Little Stevie Wonder’s ‘Workout Stevie, Workout’ / ‘Monkey Talk’ (see my November 29, 2010 post) has me insatiable for late 50′s / early 60′s call and response gospel blues. Actually, any record from the period will do, so long as it’s full of ecstatic shouts and moans and blasts from horn sections. The wilder the better.

Almost possessed, and by sheer coincidence, I came across Ray Charles’ ‘Tell The Truth’ this past Thanksgiving weekend. Other than a festive day with friends at Lisa’s dinner, it was basically three days spent immersed in records: filing, playing, sorting, filing again, and honestly pulling more singles out of the shelves than the ones being put back in. Oh yeah, and picking up a holy grail 45 collection from Saint Vicki. Can you think of a better way to spend three cold, drizzly days?

Right, so Ray Charles. Let me tell you why his pre-’65 recordings are hot as fuck. From ’54 into the 60′s, Ray Charles toured for 300 days a year with his seven-piece orchestra. 300 days. That’s serious.

He employed Atlantic label mates, a vocal trio named The Cookies, thereby renaming them The Raeletts for when they backed him up on the road. In ’58 – ’59, the musical chemistry between himself and the girls resulted in well documented revival level frenzied shows that according to many a music historian, singlehandedly invented Soul.

Ultimately, during the same January ’59 session at the Atlantic Studios, ‘What’d I Say’ and ‘Tell The Truth’ were recorded live, in very few takes. Ray Charles duets on both with Raelett Margie Hendricks. ‘What’d I Say’ scaled uncountable heights for changing history, bringing true black music to white audiences in a mainstream fashion.

Yet equally hot, maybe hotter, was the underdog of that session, ‘Tell The Truth’. Released eight months or so after ‘What’d I Say’ in late winter 1960, it’s the ugly stepsister to his global smash….and sounds all the more untapped because of it. Every element is here: Margie Hendricks leading the intro, horn section spiking in, his unrefined, carnal vocals, his barrelhouse piano.

All arms raised to the heavens, I can’t stop now – tomorrow bright and early, I’m out the door to find his autobiography BROTHER RAY: RAY CHARLES’ OWN STORY. More to come.

Big Mama Thornton

Sunday, May 9th, 2010

BigMamaStonedUSA, Big Mama Thornton

Listen: Let’s Go Get Stoned / Big Mama Thornton BigMamaStoned.mp3

Covered by everyone from Manfred Mann to Ray Charles via his infamous version, ‘Let’s Go Get Stoned’ is as ubiquitous as “Strangers In The Night’ or ‘Satisfaction’.

During the late 60′s/early 70′s, during the heights of electric blues rock’s success, seems every last band dug up some deserving song, and in hindsight rather obvious classic from the genre, added on some whitewash and brought it successfully to the masses, tunes like ‘Let’s Go Get Stoned’ were everywhere. Add to that, the phenomenon of Janis Joplin – and you’ve get many a previously struggling original blues artist, particularly female ones, suddenly sharing bills with the biggest album selling underground bands of the day at The Fillmores, Avalon Ballroom, in War Memorials and college gymnasiums around the country. Big Mama Thornton was no exception.

Signed to Mercury and released around the time of Mother Earth’s almost breakthrough success, her renewed version of the surprisingly-penned-by Ashford & Simpson classic got some FM play in my neck of the woods. Never ever expecting a soul to buy it, I was well pleased to find a promo in the local used record bin for a quarter. Still sounds authenically ruff and tumble to this day.

Tomita

Tuesday, April 27th, 2010

TomitaUSA, Tomita, RCA, Snowflakes Are Dancing

Tomita, Tomita, RCA, Snowflakes Are Dancing

Listen: Arabesque No. 1 / Tomita TomitaArabesque.mp3

Born in 1932 and still active today, Isao Tomita began composing for film and television as early as ’55. By the late 60′s, he turned his attention to electronic pieces after hearing Walter Carlos, whereby he performed classical music on the Moog synthesizer. Isao acquired a Moog III and began building a home studio. He started arranging Claude Debussy’s pieces for synthesizer and, in ’74, transformed those works into SNOWFLAKES ARE DANCING. When the album was released; it became a worldwide success, even in the US.

Corinne and I worked at Discount Records on the Syracuse University campus then. She ended up overseeing the classical department. This was in the day when record stores, particularly Discount, stocked very deep catalog titles. Classical music collectors are as eccentric as we pop hoarders. They would come in daily, she had a real following, almost groupie-like. I was never intimidated though. Talk about nut jobs – one guy was even a priest and super hysterical. With a sense of humor like no other, he made constant fun of the nuns, and had us round the parish a few times for some home cooked dinners. We scraped by in those days, preferring to spend cash on drinks and of course records. Those invites were God-sends, so to speak. It was a real blast of a summer though.

During that period, Tomita’s album started to gain traction. There was always a diverse in-store playlist variety going on. Everyone employed was a record crazy of some sort – all with extreme and bizarre musical tastes, yours truly included.

I couldn’t believe my eyes when the RCA salesman came in and handed me a bunch of Tomita 7′s, on red vinyl, a real anomaly in those days. All those sales guys gave me their promo singles, NO ONE else wanted singles. It was heaven.

TomitaSnowflakes, Tomita, RCA, Snowflakes Are Dancing

Listen: Snowflakes Are Dancing / Tomita TomitaSnowflakesAreDancing.mp3

She started spinning SNOWFLAKES ARE DANCING, and that baby would fly out of the shop as a result. A bunch of us were into Tangerine Dream and Faust, Amon Duul II, Can and of course Kraftwerk.

Think about it, ‘Autobahn’ was a hit single then. Would that happen on crap US radio now? And we thought it was bad then…anyways, Tomita fit right in. Everyone was content, which many times wasn’t the case, particularly as the night hours wore on and we all started getting buzzed.

This guy was, well still is, amazing. In 1984, he released CANON OF THE THREE STARS, featuring classical pieces renamed for astronomical objects. Rightly so, he credits himself with inventing The Plasma Symphony Orchestra, a computer synthesizer process using the wave forms of electromagnetic emanations from various stars and constellations for the sonics of that album.

Tomita has performed a number of outdoor Sound Cloud concerts, with speakers surrounding the audience in what else, a ‘cloud of sound’. He did a serious ass concert in ’84 at the annual Ars Electronica Festival in Linz, Austria called Mind Of The Universe, get this: mixing tracks live in a glass pyramid suspended over an audience of 80,000 people.

He performed another concert in New York two years later to celebrate the Statue Of Liberty centennial (Back To The Earth) as well as one in Sydney for the ’88 Australian Bicentennial. That performance was part of a $7 million gift from Japan to New South Wales, which included the largest ever fireworks display at that time, six fixed sound and lighting systems — one of those on a moored barge in the centre of a bay, the other flown in by Chinook helicopter — for the relevant parts of the show. A fleet of barges with Japanese cultural performances, including kabuki fire drumming, passed by at various times.

His most recent Sound Cloud event was in Nagoya, Japan in ’97 featuring guest performances by Ray Charles, Dionne Warwick, and Rick Wakeman.

Of course we knew nothing of any Tomita history back in ’74. We just loved SNOWFLAKES ARE DANCING. Hopefully he’ll come back to New York one more time. We will not miss it.

Percy Mayfield

Friday, November 13th, 2009

percymayfield, Percy Mayfield, Tangerine, Ray Charles, HMV

Listen: River’s Invitation / Percy Mayfield
PercyMayfield.mp3

Don’t let his Brook Benton voice put you off, he stayed very pure to rhythm and blues. Ray Charles signed Percy Mayfield to his Tangerine label in ’61, after writing ‘Hit The Road Jack’. It’s Ray Charles playing the piano break on this, as he did with many of his recordings.

Ray Charles & His Orchestra

Thursday, July 2nd, 2009

raycharlesmovinusa, ray charles, atlantic

Listen: I’m Movin’ On / Ray Charles & His Orchestra RayCharlesMovin.mp3

raycharlesbelieveusa1, ray charles, atlantic,

Listen: I Believe To My Soul / Ray Charles & His Orchestra RayCharlesBelieve.mp3

1959, the year this double sider mid-charted, also marked the end of his time with Atlantic. A few raw R&B singles spilled into his later ABC Records output, like ‘Busted’, but as it turned out, this was the end of a real deal era, not unlike Elvis pre-draft or The Rolling Stones with Brian Jones. Unfortunately there are many examples.

Love Sculpture covered ‘I Believe To My Soul’ on BLUES HELPING. It’s where I first heard it. I played the record a few years back, this after a long, long patch of collecting all the originals, and God did it sound white. Ouch. Still the recording is nicely time period, meaning plenty of crystal clear separation with lots of space exposing all the good and bad. Despite the sugary rockabilly of Dave Edmunds’ later stuff, he was obviously a pretty flash guitarist at the start. Ray Charles’ version is everything I could have wished for – brings me right to some fantasy juke joint backwoods honky tonk, whatever those places were described as. I like to think this is what it sounded like.

In similar fashion, The Rolling Stones OUT OF OUR HEADS included Hank Snow’s ‘I’m Movin’ On’. I was nuts about the track and convinced some friends to come see him at The State Fair. He was playing straight C&W by then though (’69), and did not rock out in the slightest. I bet it was probably way better than I could appreciate at the time.

Louis Jordan

Friday, January 2nd, 2009

Hardhead / Louis Jordan

Listen: Hardhead / Louis Jordan LouisJordanHardhead.mp3

I didn’t know much about Louis Jordan until John Anthony gave me a Best Of cd as a present one night. He’d been round with Howard for an evening of food and records, and it was a thank you thought. Little did he know I’d begin yet another quest to complete a 45 library on the guy as a result. Risque sexual themes often featured strongly in his work, notably the saucy ‘Show Me How To Milk The Cow’ for example. And I do love sleeze.

Ray Charles signed Louis Jordan to his Tangerine label in the 60’s – it was his last deal actually. ‘Hardhead’ is a terrific single from that period. There are many things to appreciate about the guy – go and Wikipedia him. Known as ‘King Of The Jukebox’, he still maintains the most weeks at #1 for any black performer: 113 (Stevie Wonder lags behind with 70, making him #2).

Clearly he kicked the door open for Little Richard, Screaming Jay Hawkins – so many.