imshakin

The New Breed – P.M. or Later (Jamie) 1967

michael selman — Thu, 26 Aug 2010 05:48:01 +0000

I have been trying to locate members of The New Breed for a long time with no real luck. The confusion surrounding this band has proven to be quite a hardship to research, for in trying to cross facts many inaccuracies are found. The New Breed was another great Dallas area group headed up by the master writer and vocalist Ron Price. Ron wrote Texas hits such as “Wishy Washy Woman”, and “My Girl” for Jimmy Rabbit. He also wrote the tune “Didn’t We Have a Good Time” for The Mystics, another Dallas group, which is where some inaccuracies surface.

Many sources falsely accredit Price as one of the musicians who played with The Mystics. I contacted Bud Bruschardt who was part owner of GPC Enterprises in the 60s. GPC was the booking agency that promoted The Mystics. I Hoped Bud would have some information on The New Breed or could confirm or deny whether Price was in The Mystics. He was under the assumption that Price was in the group as well, but was not really sure, being that it had been forty years and that he only booked the group. He was nice and mailed me some great promo shots of the Mystics and some publicity prints.

Bud pointed out that in “Journey to Tyme” (Texas discography of 60’s psych), The Mystics and The New Breed were listed as the same group. Bud told me to try to contact Robin Hood Brians out of Tyler, TX. Robin had recorded and produced The New Breeds last record in 1968 “I’d Like To See Her Again/High Society Girl.” Robin Hood, as most know, is one of the heavy hitters when it comes to recording and production in Texas. He is known for recording Jon and Robin, Kenny and The Kasuals, The Moving Sidewalks and Jimmy Rabbit. I tried to contact Robin Hood for a while with little luck.

In the mean time I stumbled upon an interview at Garage Hangover with Dave Mitchell, the bassist from the Mystics. He confirmed that Price was never in the group, that he only wrote their single. Price became affiliated with The Mystics after they won a battle of the bands. This set them up with a single on the Spectra label, out of Dallas, who Price had been working with at the time. This interview shows many scans of the band lacking any photos of Ron Price. Mitchell claims that the Spectra label and the In Crowd label (The New Breed’s first label) had some affiliation. The two labels, according to Mitchell, mislead the public to believe that The Mystics became The New Breed, to give the band some publicity. I then tracked down a man by the name of Gerald Peirce, who was in a group named the Mystics and soon after joined another group called The New Breed. As it turns out there was another Mystics from Port Neches, TX and another New Breed from Beaumont, TX. For a side note Peirce was in a group named The Basic Things also from Beaumont; check it out on Garage Hangover.

I also stumbled upon a great interview at 60sgaragebands, where Bill Looney from The Penthouse Five, another amazing Dallas group, spoke of some affiliation with Price. The Penthouse Five used to play gigs in Dallas with The New Breed and actually recorded one of Price’s tunes, “Don’t Mess Around With My Dream”. This interview seems to reflect that Price was in The Mystics as well.

Around this time I received a call back from Robin Hood, he told me that he didn’t remember the exact details, but he thought that the group consisted of a few brothers and that he would contact Ron Price to verify. When Robin called me back I learned that Ron Price had passed away several years ago from multiple strokes. Robin Hood told me that Ron’s brother, who Robin spoke with on the phone, said the band consisted of five brothers. He also claimed to be the vocalist on “I’d Like to See Her Again.” The brother also said the group at one time had played as Roy Orbison’s backing band? Robin told me that he didn’t feel comfortable giving me the brother’s name or number and that he would forward my email to him so he could contact me. That email never came…

I am posting this hoping one of our readers will solve the mystery. If a person was to look close at the scan of “P.M. or Later”, D. Morris was credited as well as R. Price, proving that at least a portion of the writing crew was not of relation. BMI doest not reflect D. Morris, only Ron Price as the writer. Another thing that is funny to mention here is that after this track was pressed regionally, the Jamie Label picked it up and sited the production to Ray Price instead of Ron Price. If anyone has any information about The New Breed or Ron Price please contact us and we will reference your contribution.

The New Breed Discography

In Crowd 001 – Sunny/P.M. Or Later
Jamie 1341 – Sunny/P.M. Or Later
In Crowd – Little Bit of Soul
In Crowd 1234 – Big Time/Summer’s Comin’
Fraternity 1003 – I’d Like To See Her Again/High Society Girl

LISTEN: The Mystics – Didn’t We Have Good Time

LISTEN: The New Breed – High Society Girl

LISTEN: The New Breed – P.M. Or Later

Carl Carlton-Wild Child (Back Beat 1970)

alex larotta — Tue, 24 Aug 2010 04:39:22 +0000

Before the disco sheen of ‘Everlasting Love’ and ‘She’s A Bad Mama Jama’, Houston’s Carl Carlton (by way of Detroit) dabbled with the experimental sounds of psychedelic funk, if for only a short moment in his career. Steeped in druggy grooves, backward tape loops, and fuzz guitar tones, Carlton’s Wild Child makes for some of the best in this short-lived variety. Carlton ran the gamut of nearly every soul style; from early R&B and southern funky soul to the 4/4 boogie train of the 1970s and 80s (from which he’s popularly known) and later affiliations with gospel music.

Likely taking his cue from acid-blues hero Jimi Hendrix and fellow Motor City native George Clinton with his new bag of funky rock, Carlton and his band got to work on branding their own take on psychedelia, produced by renowned Philly music producer Bunny Sigler (Gamble and Huff). Recorded on Don Robey’s home for Houston R&B–Back Beat Records–Carlton recorded a handful of 45s for the label until his departure in the mid 70s. Given the poor storage of the record by its previous owner(s), you’ll have to excuse the pops and tics, but this is Texas black psychedelia at its finest.

LISTEN: Carl Carlton-Wild Child

Eddie Bo- If It’s Good To You (It’s Good For You Pt. 1) (Scram 1969)

alex larotta — Fri, 13 Aug 2010 03:03:18 +0000

There’s little can be said about New Orleans’ larger-than-life high priest of funk, Eddie Bo, that I could say otherwise (see F16C’s magnificent tribute to the man, here). Nevertheless, I feel it’s due time that we here at I’m Shakin’ pay homage to the Crescent City’s most honorable jazz and r&b musician/producer, if only in just a few short paragraphs. Surely, a few (dozen) others come to mind, but Bo was something else, a notch above the rest–a trailblazer in a city of renowned trailblazers. Considering my gravitation towards the grittier/funkier/”Bo-ier” side of Bo’s discography, I thought I’d share one of his two singles from the Scram record label, entitled “If It’s Good To You (It’s Good For You)” Pt. 1.

Though known from the funk miners and collectors for his heavy, distinctly New Orleans brand of funk, Bo started where most musicians did before the James Brown funk revolution–steeped in the sounds of jazz, soul, and southern r&b. In traditon with the famous Big Easy second-line rhythmaires, Bo’s early productions consisted of big, bright horns, boogie-woogie piano vamps, and r&b dance beat. His recordings and production credits touch nearly every pocket and musical genre of New Orleans and the greater Gulf south, working with the brightest soul-shouters, girl groups, duets, r&b combos, funksters, rockers, and everything in between. Which brings me to today’s feature-If It’s Good To You is the real-deal heavy funk side of Bo that defines his career and exemplifies how he made funk his own groovy thang. The Meters had Zigaboo Modeliste, James Brown had Clyde Stubblefield and Jabo Starks, Dyke and The Blazers had James Gadson, but Eddie Bo had James Black; perhaps one of the most unknown but equally talented human drum machines in the history of funk/rhythm music. In this same respect, it takes an equally talented recording engineer and producer to mix the session to sound just right, and in turn, create a unique, definitive sound; i.e The Bo Sound. James Black was the drummer behind Bo’s most sought-out 45s, with his unique fat snare snap, beefy kick drum, and New Orleans rhythm, his style and tone are key components of this quintessential sound.

Sadly, Bo passed away last year, but left behind a legacy of New Orleans soul music for generations to come. His singles are some of the most highly prized records in the record collecting community, and for good reason.

LISTEN: Eddie Bo- If It’s Good To You (It’s Good For You) Pt. 1

Dimas-Why Am I Treated So Bad (Mr. G 196?)

alex larotta — Tue, 10 Aug 2010 07:59:43 +0000

If it’s not completely evident yet, I have a love affair with chicano soul. Much like rock and roll and other pop genres, it’s a cross-bred culture–a bastard of interlacing geographies and folkloric traditions. In this case, it’s the way in which black R&B beat and the Mexican conjunto combo created its own distinct musical identity and subsequent popularity amongst youth culture that makes it a uniquely American expression. And for today’s post, I thought I’d feature some JB-styled popcorn R&B sounds from the luscious chicano musical community of west San Antonio (the “Westside Sound”); the southern counterpart to East L.A.’s vibrant chicano music community of the 50s and 60s. And much like the East L.A scene and its lasting effect on future musical trends, west San Antonio had an enormous cultural impact on regional music, from tejano/conjunto and cumbia-pop crossover to rock en español and the later popular norteño invasion in Texas music.

As featured before on I’m Shakin’ (and surely will be again), Mr. G Records was operated by the unofficial musical ambassador of west San Antonio, Mr. Manuel “Manny” Guerra (one of several label outfits in his career). Manny recorded a multitude of 7″ singles for various chicano combos on his Mr. G outfit, but none so diverse and multi-dimensional as today’s featured Dimas, and his cover of The Staple Singers’ “Why (Am I Treated So Bad)”.

As noted, it’s hard to deny the track’s underlying James Brown orchestral influence–from the tight, punchy, in-the-pocket drums to the wailing sax solo and deep horn stabs–it’s certainly a nod to the Godfather of Soul’s masterful pop compositional styling. Originally a slower, gospel-fried R&B vocal track by The Staple Singers, a few instrumental popcorn and hammond versions with faster tempos were since recorded, giving it a hipper 60s dance swing (I highly recommend F16C’s Bobby Powell post on that, here) . In fact, James Brown recorded his own instrumental version of Why Am I Treated So Bad in his funk-driven late 60s career, featured on Brown’s The Popcorn LP. In comparison, I’d say that Dimas’ version is of closer resemblance to James’ version than the original, both rhythmically and arrangement wise.

Dimas (who also recorded under Dimas III and Dimas Garza) cut his performance teeth playing with San Antonio’s legendary chicano doo-wop and rolo crooners, The Royal Jesters, in the mid 50s, and continued his tenure with the popular group until the late 60s, while simultaneously recording his own material on various chicano labels in town. Unfortunately, Dimas passed on a couple of years ago, but his records and popularity can still be felt in San Antonio and the wider Tejano music community. Though this song doesn’t feature his compelling and unique vocal styling, his band leadership is exceptionally tight and on point. I’d say it gives the JBs a run for their money.

LISTEN: Dimas- Why Am I Treated So Bad

The Argyles – Farmer John (PIC-1) 1966

michael selman — Sun, 08 Aug 2010 23:12:26 +0000

Another San Antonio story, The Argyles were a group which formed in 1965, which rose to fame from one hit and went on to relocate to California and become The Children. All five members hailing from different sections of the Alamo city: Alamo Heights, Keystone, Macarthur, Jefferson and Cole graduates, jumped into music at a young age. The Members were: Steve Perron on guitar and VOX, Luis Cabaza on the keys, Ben Trieber on bass, Steve Anderson on drums, Chris Holzhaus on guitar, VOX.

The Argyles regularly played The Teen Canteen and Ft. Sam Houston, as it turns out the group formed The Minds Eye Club as well. From what I can tell The Minds Eye was a real hip joint with smoke machines and strobe lights creating one of the first hippie hangouts in San Antonio. The dive next to The Minds Eye was a 50s hang out called The Big Orange known for it’s territorial hoods coined “The Big Orange Hoodlums.” Well it seems that at this time, “The Hoods,” were the only source for dope, seeing that in those days 20 years was given out for possession of a joint. As it turns out the Big Orange Hoodlums shot The Argyles bassist, Benny Tieber, in the leg over a deal gone wrong.

Some time in 1966 The Argyles meet up with the Cajun producer Huey Meaux. Meaux recorded the Argyles only single, Farmer John/White Lightnin’ on the Pic-One label. Both sides were recorded at Meaux’s recording facility, Pasadena Sounds in Pasadena, TX, which at the time of this recording would have only been up and running for a little less than a year. Farmer John was a cover written by Dewey Terry and Don Harris who were a part of a group called the Squires in the mid and late 50s. There song became a hit by the California based group The Premiers in 1964 after being covered by The Searchers a year prior with no success.

Both the Searcher’s and Premier’s versions follow the original lyrics “Farmer John, I’m in love with your daughter.” The Argyles veered from the original giving the song a real Texas Raunchy feel with “Farmer John, I’m in love with your Mother.” I’m not sure who had the idea to change the lyrics of the chorus whether it was Meaux or The Argyles, however I love it and feel it is the best of the three versions. The Argyles also switched up the Premiers version by excluding the guitar break and shoving in a real nice slice of organ. The Premiers started a trend with their cut of Farmer John by creating a live feel on the recording. The track was supposedly recorded live in the Rhythm Room in Fullerton, California, however they laid down the track in a studio in Hollywood. The Argyles also went after a live feel for their version of Farmer John with laughter and party noises in the background through out the track. Ben Treiber died in 1969 only three years before Steve Perron, two young for both of these talented men. The group went on to form The Children and move to California. I received most of this information from a great website dedicated to San Antonio, www.saboomie.com. I was lucky enough to make a trade with my friend Kevin for this copy of Farmer John, hope you enjoy.

LISTEN: The Argyles – Farmer John

Black Blood and the Chocolate Pickles-Mississippi Mud (Black Blood 197?)

alex larotta — Thu, 24 Jun 2010 23:19:19 +0000

Novelty band names rarely get this good. Black Blood and The Chocolate Pickles cut their somber down-tempo funk number, “Mississippi Mud” in Baton Rouge, LA, on what I presume to be their own custom label, Black Blood Records. I was waiting to gather some more info on the group but they seem to be largely unknown, even in meticulous discography circles.

Black Blood went on to distribute and re-release their 45 with Stax subsidiary Enterprise Records, changing their band name to ‘Smithstonian’ before disbanding and leaving behind a trail of mystery for those seeking answers of their origins. I can only assume the name Black Blood and the Chocolate Pickles didn’t sit well with some of the higher ups at Enterprise, perhaps they were coerced to change it up to something more radio (ahem, white)-friendly. Enterprise released their version of Mississippi Mud under the Smithstonian tutelage, changing the b-side to an equally superb song entitled ‘Just Sitting’, both of which were featured on bootleg funk compilations.

With its haunting message and moody bass-heavy instrumentation, its story is eerily foretelling of the Hurricane Katrina disaster that struck the Mississippi basin in August of 2005, and thematically applies to the oil disaster that devastated the Gulf Coast earlier this year. Mississippi Mud is prime cut Gulf Coast music culture; a funereal song of the region’s largest natural resource with a rich yet often brutal history, and a deep-rooted Americana narrative as long as its furthest extensions.

LISTEN: Black Blood and the Chocolate Pickles-Mississippi Mud