Archives: December 2009

18 Dec 2009, Comments (0)

Fried Chicken-Funky D.J. (Stone 1976)

Author: alex larotta
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Matching Earnest Jackson’s “Funky Black Man” to an almost exact degree by tempo and arrangement, Fried Chicken’s “Funky D.J.” takes a veritable spin on the original with an homage, as you might have guessed, to a very funky disc jockey. Notable differences in Fried Chicken’s version are the lack of a bridged horn section, a slightly different guitar-driven outro, and alteration in lyrics/theme, but otherwise a near match of Mr. Jackson’s original. So close, in fact, that I was confused of the differences between the two for quite sometime before I cleared the mystery. Don’t take my word for it though, you can see for yourself here.

Fried Chicken, otherwise known as Bubbha Thomas and The Lightmen (Plus One) of Houston, TX, cut this single for the Baton Rouge-based Stone Records in 1976 at the legendary Deep South studios. Thomas, known largely for his work with The Lightmen on Houston-based Judnell label as well as his own Lightnin’ label, remains musically active in Houston with regular concerts as well as his Jazz Summer Workshops and various communal activities to this day. As a famed jazz rhythm drummer, Thomas trained under the guidance of Houston’s legendary jazz music educator Conrad O. Johnson (of Kashmere Stage Band fame) at Booker T. Washington Senior High School in Houston’s 4th Ward district. Producer Ronnie Shaab is credited for production and writing credits on both Funky DJ and Funky Black Man, and oversaw various works to come from Deep South’s archive of funkistry, including two of The Brothers and Sisters singles “Yeah, You Right” and “The Jed Clapmett Pts 1 & 2″. Both of which are HEAVY hitters, pick ‘em up if’n you got the means. Thomas’s music recently gained a large amount of attention amongst funk diggers and connoisseurs via Stones Throw’s revered Funky 16 Corners funk compilation, which featured “The Phantom” off The Lightmen’s signature “Energy Control Center” LP released in 1972 off Thomas’s Lightnin’ label. Funky DJ was also featured on DJ Shadow and Cut Chemist’s venerated funk 45 session, Brainfreeze, while Funky Black Man was featured on their second 45 series, Product Placement, as the “bizarro” intro version of the Brainfreeze original. Though recorded in Louisiana under their nom de plume (likely a reference to Thomas’s ‘Country Fried Chicken’ LP), Fried Chicken’s Funky DJ is a hefty portion of southern-fried groove-laden dirty Tejas funk, and one of my favorites at that.

And before I sign off, just wanted to note that I will be travelin southbound to the Motherland (aka Bogota, Colombia to be precise) for a large chunk of the Christmas holidays. So, I shall be absent from the rest of this month’s posts, but I will try my damndest to post my digging treasures from the streets of Bogota depending on my interneting abilities while I am there. I’ll be home in January with a cache of goodies from the trip and will definitely post up some of the digs, but in the mean time, I bid you a Feliz Navidad/Hanukkah/Kwanzaa et al, and a very Happy New Years. Thanks for checking us out while we got our site off the ground this year, and we have large surprises and changes in store coming up for the new year as we move on to better/faster/stronger v2.0 (including exclusive interviews, mixes, guest posts, music player plug-ins etc etc)!! Thanks again, we’ll be seein you soon, Michael will be holdin down the shakin’ fort with his exquisite selection of Texas fuzz, distortion and all good things in the world of garage and psych. Til’ the next decade kiddos!

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LISTEN: Fried Chicken-Funky D.J.

kenny and the kasuals

This week I am crossing the borders of Texas, for a short moment, with The Five Americans. This group came together in Durant, Oklahoma at Southeastern State University in 1962. The reason I am including this group in this mix of Texas acts is because they relocated to Dallas in 1964, so I figure they were here for all of their success, they’re a Texas group. The groups members were Mike Rabon on vocals and lead guitar, John Durrill on organ and vocals, Norman Ezell on rhythm guitar and vocals, Jim Grant on bass and Jimmy Wright on the drums. They originally relocated to Texas to try to make enough money for the following semester of school, but once they arrived they gained a lot of notoriety. A local label, Abnak Records, whose owner John Abdnor, took the group under his wing, providing the group with the resources to practice and record.

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In 1965 the group wrote and recorded “I See The Light.” This track would prove to be the group’s roughest/punkier track to record to date. This track went to the top twenty on the billboard charts and paved the way for many hits to come. “Western Union,” being the groups largest hit, really put them on the map, however now the group’s tunes had much more pop sensibility. The group only recorded tunes for five years, but still were able to sell millions upon millions of records. I found some information claiming that Abnak Records owned all of the rights of the groups music, when Abdnor died the group didn’t received any of the royalties either. Wikipedia claims that Sundazed bought all of the rights to the original tapes and now the group receives some of the money they deserve. I love this track because most harmonies of this era contain beautiful melodic voices in tune, for this track the entire group is literally yelling all at once. I personally really enjoy the organ screeches for it brings to mind screeching guitar feedback giving this tune a real monster rough tone with a screaming harmony.

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LISTEN: The Five Americans – I See The Light

kenny and the kasuals

McAllen, Texas brings us The Headstones, a group of infinite talent in the fuzz/garage genre, who only brought us sadly two singles. These four tracks are real monsters, for this band with such small recorded material, comes up when ever Texas garage is mentioned. The group recorded for Pharaoh Records, a two track recording studio, owned by Jimmy Nicholls, which happened to be in McAllen as well. The group finally broke up in 1968 after the lead vocalist was busted for marijuana possession and sentenced to one year in prison. Today I bring you the flip of this charting disc “Wish She Were Mine.” I personally enjoy the slow rougher garage track “24 Hours (Everyday).” I found this early scan with only four of the six members shown, however being such a great shot thought I would include it as well.

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I have been looking for anything by this group, and have come up short because of a large price tag, over and over again, either at the record convention or on the bay. This track I actually found at a garage sale in Austin not long ago. I have the dreaded feeling, after realizing that rereleases are in print, that this press must be one of the many represses. G45 ranks the original single at number 60 in the rarest of rare garage singles. The site claims that there are only 7 known remaining copies. Unless I received the best deal of all time, this is a rerelease. I mainly think this because all of the original Pharaoh’s releases list the record call numbers in the middle of the label, where my press has the call numbers closer to the left. Now that I am done playing record geek, Enjoy.

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LISTEN: The Headstones – 24 Hours (Everyday)

10 Dec 2009, Comments (0)

James K-Nine-Live it Up (Federal 1973)

Author: alex larotta
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Today’s menu: Face-melting ghetto funk from the most musical of American cities, the big ol’ Crescent City aka New Orleans, Louisiana. To step out of my recent coverage of Texas artists and records, I wanted to shed some attention on Mr. James K-Nine and his little ditty, “Live It Up” on Federal Records. Originally released on the local Nawlins-based Hot Hit Records in 1973, it was later picked up by Federal for regional distribution. Admittedly, not much information on James or of his recording catalog, but I can tell you in fine print under the song title reads the name “Bocage”. ‘Nuff said. Bocage, known to most others as the one and only Eddie Bo (R.I.P.), the pianist/composer/recording artist/producer, carries writing and production credit to this here 45 single. Mr. Bo often doubled as producer and arranger for a host of recording groups, putting his magic touch on ryththm and blues standards by incorporating funky backbeats, psych-tinged guitar licks and rockin’ piano chords, effectively reinventing the sounds of the Crescent City throughout his thorough recording career.

I caught this song in a dj mix I heard sometime ago, unbeknownst to me that it was part of the elusive and far-reaching catalog of Eddie Bo, I was immediately drawn to the overall tightness and impeccable in-the-pocket funk drumming in the rhythm. Good Gawd! Like many of Mr. Bo’s funkier side of things, the drums have a special warm and crispy attribute, accompanied by the bubbly thick low-end bass creating that uniquely ‘Bo’ sound. Vampisoul has an excellent reissue of Eddie Bo’s catalog and production credits, you can check out “In The Pocket With Eddie Bo” here, and check out Funky 16 Corners great homage to Mr. Bo here. Overall it’s a pretty simple track, I don’t generally get to play it out all too often, but I was ecstatic when I was came across this record recently at the Austin Record Convention. Since I couldn’t find any photos of James K-Nine, I’ll give photo props to producer/arranger Eddie Bo.

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LISTEN: James K-Nine-Live It Up

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