4 Dec 2009, Comments (6)

S.J. and the Crossroads – Ooh-Poo-Pah-Doo (SALMAR) 1966

Author: michael selman
kennykasualsband

A garage rock group, which mainly recorded and performed covers from Beaumont, Texas, S.J. and the Crossroads, were exceptional at recording tunes with a lone star signature sound. Of the small amount of information remaining about this group, I was able to find an interview with the original lead singer Sam Messina. In this interview Messina has problems coming to grips with the idea that his band fit the garage/punk sound. After listening to S.J. and the Crossroads snarling vocals and rough instrumentation, a garage image is unveiled.

impact scan
impact scan

Today I bring you two out of a slew of monster 45’s by The Crossroads, first which is a Jesse Hill cover of Ooh Poo Pah Doo. This single was recorded in Jones Studio in Houston; the group wanted a live feel for the track so they overdubbed background voices at the beginning of the track. The band supposedly was saying the word “Rhubarb,” over and over again, however the listener is unable to decipher this from the track. The second tune is a calm version of The Strangeloves “Night Time.”

kennykasualsband

The group consisted of six Italian guys from Beaumont. Mike Daleo on guitar, Phillip Battaglia on bass, Johnny Serio on lead guitar, Sam Giglio on keys, Sam Messina on vocals and S.J. Serio on drums. The group recorded on the Salmar Label out of Beaumont, which was created for the Crossroads. The name was selected because S.J.’s and Jonny’s father Sal Serio, who was the group’s manager and their mother’s name was Mary forming SALMAR Records.

kennykasualsband

LISTEN: S.J. and the Crossroads – Ooh-Poo-Pah-Doo

LISTEN: S.J. and the Crossroads – Night Time

4 Dec 2009, Comments (11)

Little Joe and The Embers-Soul Finger (1969 Discos Jesna)

Author: alex larotta
littlejoe45

Today’s post features some classic brown-eyed soul born and brewed here in our beloved Lone Star State. Little Joe, born Joe Martinez in Houston, TX, started his first band with The Embers in early 1961. Throughout the 60’s and early 70’s, there were two Little Joe’s of Texas and they were often billed together at events, concerts and shows as the “Two Little Joe’s of Texas”. The Little Joe featured in today’s post is Little Joe Martinez, cousin to the late great Tejano music legend, Rocky Gil of Rocky Gil and The Bishops fame. The other ‘Little Joe’ is Joe Hernandez, notable for his recordings with Little Joe and The Latinaires and Little Joe Y La Familia, some of which may be heard on Jazzman Gerald’s illustrious Texas Funk compilation, which can be found and purchased here. Released by Discos Jesna in Houston, Little Joe’s rendition of The Bar-Kays classic “Soul Finger” skews lightly on the vibrato horn work of the original and misses the children’s screaming of the title name, but still holds strong as a bonafied Texas soul burner.

Recorded and distributed by Discos Jesna of Houston, TX, Soul Finger was one of the first records produced by Natcho and Jesse (hence “Jesna”) Garza, two brothers who opened their small-time record label from their two-car garage in North Houston in the early 60’s. Little Joe and The Ember’s first recording of “Me Piden” topped the Texas Chicano music charts at # 1 for six straight weeks, it was also their first #1 record produced in their studio. Little Joe was also a vital character in the Houston Chicano music scene, he was friend to legendary producer & label owner Huey Mueax, and was involved with the distribution of spanish/country crossover hit, “Before The next Teardrop Falls”, recorded and produced by Huey’s Tear Drop Records, considered to be their biggest selling record by Texas music legend Freddie Fender. Little Joe continued to perform throughout the 80’s and 90’s under various band names and is widely recognized for his enormous contributions to Tejano music, playing with everyone from Selena’s father’s band Los Dinos to Sunny Ozuna to Selena herself, amongst a host of Chicano Texan music icons. Without a doubt, Little Joe Martinez is an integral part of Texas music and heritage. You can check out more of Little Joe’s resplendent music catalog here, and find out more on the formative years of the Tejano music culture on PBS’s wonderful Latin Music USA documentary series here.

Lastly, I would like to personally thank Little Joe Martinez for all his help and guidance on the information and photos for this week’s post, gracias por todo hermano!

LittleJoeTheEmbers1961001 littlejoeembers

LISTEN: Little Joe and The Embers-Soul Finger

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 (2)

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

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