Archives: November 2009

21 Nov 2009, Comments (2)

Les Watson and the Panthers-Oh Yeah (Pompeii 1969)

Author: alex larotta
leswatson

Bursting forth from the southern soul mecca that was South Dallas in the late 60’s, Les Watson and The Panthers were an integral part of the legion of talented musicians flooding the DFW area. Their name might be familiar to any of those out there that have picked up Now Again’s delectable South Dallas Pop (Funk) Festival record, a definitive and remastered record capturing the famed 1970 festival, recently brought to light thanks to the efforts of Now Again’s general manager Egon and SoulTex’s label owner Roger Boykin amongst a slew of others involved with the process. And I highly recommend you check out KERA TV’s in-depth documentary on the festival with the aforementioned Roger Boykin and musician Wendell Sneed, you can check it out here.

Oh Yeah is a fun, upbeat slice of boogaloo rhythm with a light party anthem featuring some tough n’ tight horn stabs and a sleek rhythm guitar driving Les’s melody. Not much info on the band, though I found they were the house band at a few spots in Dallas’ nightclubs including The Funky Monkey and Lou Ann’s. From what I could gather, Les Watson and The Panthers released a few singles (including this one) on Pat Morgan’s Pompeii Records, a subdivision of the soul haven Atco label. My initial reaction when I came across this funked-up firey 45 was recalling the record label, and I had suddenly remembered that Pompeii had issued one of my favorite funkstrumental records of all time, none other than Ike Turner and The Kings of Rhythm’s “A Black Man’s Soul”. Can’t recommend that one enough, you can pick up some MP3’s here, or if you’re of the vinyl persuasion, I don’t think an original is TOO pricey on the bay, I was lucky to catch mine at a local record shop for a fair price.

I’ll wrap this up so not to drag on too much more, so sit back back and enjoy today’s slice of Texas soul.

Popfestivalflyer014

LISTEN: Les Watson and The Panthers-Oh Yeah

20 Nov 2009, Comments (0)

Mouse and The Traps – Lie, Beg, Borrow and Steal (FRATERNITY) 1967

Author: michael selman
kenny and the kasuals

Some say that the first single from this group, “A Public Execution” is to Dylan what the Knickerbockers’, “Lies” is to the Beatles. One of the few rips offs, which is so accurate that most listeners feel they are listening to the original musicians themselves. Ronnie “Mouse” Weiss was born 1939, he later spearheaded the Tyler, Texas group Mouse later becoming Mouse and the Traps. “A Public Execution” originally written by Weiss and Knox Henderson was taken to Robin Hood Studios in Tyler. The song became a regional hit. This single features Ronnie “Mouse” Weiss on 12 string guitar and vocals, Dave Stanley on Bass, Bug Henderson on guitar, Don “Levi” Garret on drums, Randy Fouts on Piano and Robin Hood Brians himself on farfisa organ. This track not only mimics Dylan’s lyrical content, but also Dylan’s singing style to the point of homage or even parody. The liner notes of the original Nuggets compilation, Larry Kane states “There are some who say that Mouse does Dylan’s Highway 61 period better than the master himself. I personally cannot agree with this statement, however enjoy this parody immensely. After the success of “A Public Execution” the group changed their name to Mouse and the Traps, and the musical styles of the group also changed to more of a punkier rough sound.

impact scan

Lie, Beg, Borrow and Steal recorded in 1967 is absolutely of this rougher sound I am referencing. The unusual thing about this track is that the full title is “Lie, Beg, Borrow and Steal,” however if you look at the uploaded image of the wax, the Lie in the title has been dropped, confusing this track with the Rare Breed single. The correct name Lie, Beg, Borrow and Steal was written by Ronnie Weiss and also recorded in Tyler at Robin Hood Studios. The musicians on the recording were Ronnie Weiss on guitar and vocals, Dave Stanley on Bass, Bugs Henderson on lead guitar, Jerry Howell on keyboards, Ken Murray on drums. I was able to find a picture sleeve on the net of a German press of Beg, Borrow and Steal. Freak out.

kennykasualsband

LISTEN: Mouse – A Public Execution

LISTEN: Mouse and The Traps – Lie, Beg, Barrow and Steal

13 Nov 2009, Comments (0)

The Sparkles – The Hip (HICKORY) 1966

Author: michael selman

As far as garage music in the sixties was concerned, there were two categories: there was The Sparkles and there was everybody else that didn’t stack up. Born in Levelland, Texas then relocating to Lubbock, this group is absolutely the rawest, screaming garage I have ever dug up. While many groups later in the seventies experimented with two drummers these guys were doing it in 1965 and doing it well. Formed in 1957, but not recording their debut until 1962 “The UT” (for Untitled) on the tiny Caron label. This recording garnered zero attention.


After this flop most of the group went on to new projects leaving only one remaining original member to start a new line up from scratch. This line up would turn out to be a success with: Louie Holt on lead guitar, Jimmy Marriott on drums, Bobby Smith on bass, Lucky Floyd on drums and lead vocal and lastly Gary P. Nunn on rhythm guitar and organ. The group signed to Hickory Records and was able to get Roy Orbison’s drummer, Larry Parks, as their producer. In 1966 they recorded “The Hip” which turned out to be a swinging dance number quite popular with the fraternity crowd at the University of Texas at Austin. This single is one, which I consider a novelty in a garage/psych genre, being that the vocals are so fast they have a rapping or slam quality.


The Sparkles were one of a few groups that were a working band only; they played for their livelihood, perfecting their sound with no dead end jobs getting in the way. The group recorded their masterpiece “No Friend of Mine” in late 1967. This incendiary effort distinguished by Nunn’s snarling guitar lead and Floyd’s remarkably anguished vocal was later immortalized via inclusion on the first Nuggets box set. I have not had the chance to pull an original copy of “No Friend Of Mine,” being that it is a rare sought after single these days, however lucking out with “The Hip.” I was able to get my hands on a rerelease that Sundazed put out in 2005 that included three tracks: “No Friend of Mine,” “Hipsville 29 B.C.” and “I Want To Be Free.” As for this group, the nuclear meltdown-strength classics “The Hip,” and “No Friend Of Mine” are of a different breed than any group of this time period; they capture the garage genre at peak power for the sixties. ENJOY.

LISTEN: The Sparkles – The U.T.

LISTEN: The Sparkles – The Hip

LISTEN: The Sparkles – No Friend Of Mine

11 Nov 2009, Comments (2)

Carlton (King) Coleman-The Boo Boo Song (King 1967)

Author: alex larotta
coleman45

I’m writing today’s entry a tad bit early of our regular Thursday deadline due to the fact that I am leaving shortly to work in a remote area of the plush Texas Hill Country for the rest of the week (Medina, TX to be accurate) and will be effectively incommunicado. Thusly so, I have to keep this short and sweet and pack my bags here momentarily. BUT I’ll start by stating that today’s selection, King Coleman’s “The Boo Boo Song Pt. 1”, is a soul shattering burner from start to finish, and truly one of my all-time favorites.

King Coleman got his start as a radio DJ and gained popularity on Miami’s WMBM in the late 50’s, and continues to fill a popular spot on the late hours at the station to this day. It was here that he became a pivotal force in popularizing and exposing rhythm and blues, doowap, and soul records to a widespread Miami audience, and soon became a known figure in the regional radio scene. Coleman got a shot to record vocals over James Brown’s “(Do The) Mashed Potatoes” due to a record dispute with Mr. Brown and his label (King), and you can check out a clip of that wonderful slice of popcorn R&B and purchase Coleman’s entire best-of compilation (thanks to the great people over at Norton) here.

The Boo Boo Song captures the era of party-time nonsensical novelty songs of the 60’s almost perfectly, but it’s above and beyond anything that falls in that category. Coleman’s energetic wailing shoots like a cannon immediately after a Dr. Seuss styled vocal intro, and doesn’t let go until the very end. Interesting to note that Mr. Coleman’s early career is reported to have been quite influential on a young Clarence Reid, and inspired him to take shout-singing vocalizations and crazed energy of Coleman’s persona to a whole new level as an outrageous and ultimate ladies man (and true Godfather of Rap) known to us all as Blowfly. The Miami New Time wrote a great piece on Mr. Coleman a few years back, here’s a link to that article if you’re interested in reading more on his career.

LISTEN: King Coleman-The Boo Boo Song

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