Tags: funk

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on a bus when they previously didn’t have to (excuse my half-cocked history lesson, just thought I’d paint a skimpy historical reference).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.

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)

Joe Tex, our man from the gulf coast settings of Baytown, TX, set the bar for rappers to come in the late 70’s and early 80’s. Undeniably funky and soul shattering, Joe Tex falls in that special category of eccentric soul singers who started ‘rapping’ as a unique form of shout-singing and rhyming over a steadfast funky backbeat, all before rap took off as its own movement.

But before all that, Joe Tex started as a ballad-style soul singer, recording a handful of minor hits for releases on Ace, King and Anna before really tapping the mainstream with his recordings on Dial. And as if to be more in line with the competitive nature and themes of rapping, Joe Tex and the Godfather of Soul himself Mr. James Brown had ongoing beef with each other, stemming from accusations from Tex that James was stealing his on stage antics and dance moves. And to add insult to injury, Joe’s ex-wife left to join the James Brown Revue, resulting in Tex’s subsequent recording of “You Keep Her”, you can check it out here. If that doesn’t result in some heavy beefing, I don’t know what else would. And to make matters worse/more awkward, James and Tex frequently shared bills together during their touring heyday, with one evening resulting in James’s firing of his handgun after Joe mimicked his signature cape maneuver during his show. Considering this was a messy and likely frightful night with the gun firing at the end of the night, I still would’ve loved to been there that night. Joe Tex mocking the Godfather of Soul, and him getting so angry as to shoot his gun off. Scary, yet memorable, at the very least. And it’s reported that James paid everyone at the joint a $100 to keep their mouths shut, what a great story for the grandkids.

This week’s post is a highlight of Joe’s funky repertoire, “Give The Baby Anything The Baby Wants” features a great driving groove-laden backbeat and bass line on top of some swirly horns and Joe’s signature vocalizing and shouting. Released on Dial Records in 1971, this would be one of the last records before his national hit ” I Gotcha” hit the mainstream, check out some dope soul train footage of that track here. And it would be shortly after that that Joe would retire from his short-lived recording career after converting to Islam and living out his days as a spiritual lecturer. Joe did eventually return to the stage and studio some years later, but never fully engaged his recording career as his days prior, though he did reach the charts again in the disco era, penning the regionally popular dance, The Bump, with the amusing song title of the same name, “Ain’t Gonna Bump No More (With No Big Fat Woman)”. Unfortunately, Joe died at the young age of 49 at his Texas ranch in Navasota, with fellow soulers Ben E. King, Don Covay, Wilson Pickett, and the songwriter Percy Mayfield serving as pallbearers. Alas, Joe Tex cut some mighty fine southern style soul and funk, hope you enjoy today’s selection of his impressive discography.

LISTEN: Joe Tex-Give The Baby Anything The Baby Wants