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 want to point out that Sundazed has released an E.P. by The Sparkles that includes three tracks: “No Friend of Mine,” “Hipsville 29 B.C.” and “I Want To Be Free.” Being that “Hipsville 29 B.C.” and “No Friend of Mine” are around $200 45s, buying the E.P. might be a good route, then again maybe you will get lucky like I have and dig them up. 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 – Daddy Gonna’ Put the Hurt On You

LISTEN: The Sparkles – No Friend Of Mine

11 Nov 2009, Comments (3)

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

5 Nov 2009, Comments (3)

The Greer Brothers- We Don’t Dig No Busing (The Busing Song) (Duke 1973)

Author: alex larotta
greer45

There’s a little known genre, and really perhaps because it’s a record collectors fabricated sub-genre, that has come into fruition over the past few years and molded itself into a highly sought after prize piece for samplers and collectors alike. It’s known as kid funk, and there’s a handful of great compilations covering the subject (I highly recommend Numero Group’s take on the genre, peep it here). There’s been a hefty amount of this niche genre produced throughout funk’s golden years of the late 60’s to early/mid 70’s, and today’s selection is a prominent feature. Beyond the commercial success of the Jackson 5s or Sylvers styled boy bands, there were definitely a veritable amount of kiddos that could funk it as tough as their elders. Case in point, The Greer Brothers of Houston, TX. And bonus point(s) for categorizing itself in the kid funk and Vietnam/Civil Rights era protest music sub-genres, truly an amazing feat. Perhaps taking their cue from fellow Houston high school funkateers, Kashmere Stage Band, The Greer Brothers (ages 9-15) cut this fine wah-wah drenched protest funk on Don Robey’s famed Duke label, home to a host of Houston bluesmen and soulers alike (Bobby “Blue” Bland, O.V. Wright, and Clarence “Gatemouth” Brown to name a few).

Admittedly, the lyrics tread on the side of novelty at times, but the aim is true. Hell, I didn’t (nor couldn’t) write an ass stomping protest song at 9 years old and get my siblings to strum along as the backing band, and though it’s likely a contrived concept by Dad or Dad’s “producer friend”, it’s still a helluva song. We Don’t Dig No Busing embodies the stylings of Black Power records of its day, with a catchy rebellious hook, protest anthemic verses sung in powerful harmonies, and of course a call out to the era’s utmost political villain, Mr. Dick Nixon himself. We Don’t Dig No Busing references the topical scandal of the time (1971 to be sure), after The U.S. Supreme Court ordered the “busing” of minorities to white schools to ensure further desegregation across the country, which often resulted in minorities forced to ride on a bus when they previously didn’t have to (excuse my half-cocked history lesson, just thought I’d paint a skimpy historical reference). But The Greer Brothers were pissed, and fortunately for us they were thoughtful enough to make a kick ass song about it.

Alas, not much on The Greer Brothers or what happened to them after this record, but I did find one of their kids is a rapper somewhere in the sprawls of Houston. Easy sample clearance perhaps. Nevertheless, hope you dig on today’s selection, also included is a lyric sheet that came with the record (surprised it survived in the near-dead 45 sleeve). It’s a little tore up, but at least the Greers did us the favor of allowing us to sing along in protest. And I wholeheartedly concur, I don’t dig no busing either.

greerlyrics

LISTEN: The Greer Brothers-We Don’t Dig No Busing (The Busing Song)
(side-note: the beginning is lightly warbled with cue burn, but it picks up shortly after)

5 Nov 2009, Comments (1)

Jimmy Rabbit – My Girl (JOSIE) 1965

Author: michael selman

This weeks post is dedicated to two of my favorite people who happen to be getting married on Friday. Being that I mostly post Texas garage/fuzz/psych and since these two lovebirds have an ear for this particular genre, I figured I would dedicate them a screamin’ love song. The side that I am dedicating is not the known hit for this 7-inch, however still worthy, shattering harp and penetrating guitar riffs are sure to let cupid’s arrow fly. I am going to post the flip as well, “Wishy-Washy Woman,” but I would like the theme of the second track to not distract us from the purpose of this post.

Most of the groups I have posted so far owe homage to this artist. He got into the music industry as a jockey for the Dallas station KLIF AM 1190. Over the airwaves of KLIF is where most of these Texas acts got their foot in the door. Rabbit born Eddy Payne really enjoyed the British sound of the Yardbirds, Stones, The Who and the Beatles, but also enjoyed rockabilly, which was found only in the states. Rabbit as a teenager played on many radio stations throughout Texas including Tyler (where he meet Robin Hood Brians), Corpus Christi and Dallas. For radio promotions, Rabbit decided to become a professional wrestler with the matches being broadcasted over the waves. This short second career choice would be where his alias would originate, wrestling under the handle “Jujitsu Jimmy Rabbit.”

Rabbit when recording would try to create a sound much like the British acts of his day much the same as Sir Douglas Quintet. In 1965 Rabbit recorded “Pushover” which was featured in the motion picture High Yellow. In the promo picture below, playing in the background, you can see Jimmy and his band playing. Later that year in July, Rabbit recorded “Wishy-Washy Woman” and “My Girl.” If “My Girl” is a love song then Rabbit wanted to show both sides of the coin. “Wishy-Washy Woman,” just like the title states, tells the story of a woman who is manic towards her lover and the anguish that he goes through. Rabbit went on to record a hit under the alias, Positively 13 O’clock, which I have not been able to track down a copy as of yet. This hit was a cover of the well-known track “Psychotic Reaction” by The Count Five. This cover was recorded at the famed Robin Hood Studios in Tyler Texas. When I am able to dig one up, be assured it will appear on imshakin.

Lastly I want to get sappy again and tell Andrew and Violet, being the first person to witness you two together, living with you both for some time and seeing your love grow for each other, I have never seen such a beautiful connection. I send you both love and good luck in Albuquerque.


LISTEN: Jimmy Rabbit – My Girl

LISTEN: Jimmy Rabbit – Wishy-Washy Woman

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