Tags: r&b

9 Mar 2011, Comments (3)

Johnny Copeland – Just One More Time (Golden Eagle) 1963

Author: michael selman
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In this post I would like to step away from the 60s Fuzz vibe for a moment and introduce you to Texas blues man Johnny Copeland. Born March 27, 1937 in Haynesville, Louisiana, Copeland and his family moved to Houston as a child where they called the Third Ward home. It was in this particular part of the Lone Star state where Johnny was introduced to Texas blues men Clarence “Gatemouth” Brown, Johnny “Guitar” Watson, and of course T-Bone Walker.

While in Houston, Copeland made the acquaintance of a local Houston musician Joe “Guitar” Hughes. This friendship would go on to become the basis of what would start Copeland’s recording career. The Dukes Of Rhythm became their first group together. Initially started as strictly a vocal group, the duo would quickly pick up instruments to keep up with the music that was coming from in and around Houston. The Dukes Of Rhythm became the house band for Houston’s leading blues club, Shady’s Playhouse, subsequently where Copeland first saw T. Bone Walker perform.

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Johnny Copeland began to record as a solo artist in 1958 with a blues pianist named Teddy Reynolds. His first single garnered little attention, but was picked up on the major record label Mercury. After the failure of this first single Copeland began to record for a myriad of Texas labels including All Boy, Paradise, Wet Soul, Jet Stream, Brown Sugar, Boogaloo and Golden Eagle.

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In 1963 Copeland would record his largest selling single “Down On Bended Knees/Just One More Time”. Down On Bended Knees was recorded at Gold Star Studios and has been on many blues compilations and is considered one of the molding pieces that helped shape the unmistakeable Texas blues sound.

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I personally enjoy the much more R & B influenced flip side of this single called “Just One More Time.” Jannie Williams recorded a female answer to both sides of this single also for Golden Eagle the same year “I’ve Been True/Get Up Off Your Knees” was released. Both singles were written by Copeland and contain the exact same instrumentation with differing titles and of course the female lyrical retort. This might have been a ploy by Golden Eagle to open up this single to both male and female audiences. Jannie also recorded on the Back Beat label as Jeanette Williams, primarily recording soul tunes.

kenny and the kasuals
Charlie Booth was a Houston promoter and former T.V. repairman who helped Roy Head get his start by introducing him to Huey Meaux, who recorded Head’s biggest hit “Treat Her Right.” Booth owned the Golden Eagle label and also brought Head to Don Robey’s (Back Beat Records owner) attention. Booth got his start in the music industry as a recording artist with his single “Fishin’ Fits,” for the Laurie label in the early 60’s. Booth’s first hit on his Golden Eagle label was Copeland’s “Down On Bended Knee.” Booth recorded many other Golden Eagle singles in Gold Star Studios where he edited and produced all the material himself.

kenny and the kasuals
In 1964 Copeland recorded “Mama Told Me/Your Game Is Working,” which contains Copeland’s signature blues tone on “Mama Told Me.” Copeland then changes gears to a thick slow R & B sound on “Your Game is Working,” which in my opinion is when he is at his best. That sound can be attributed to Copeland’s ability to unleash the stormy rhythm & blues influences of T. Bone Walker.

kenny and the kasuals
Blues and R & B were not all Copeland was capable of. The versatility of Copeland is perfectly represented when up-beat soul meets hair raising slow ballad with his single “Danger Zone/Slow Walk You Down.” Danger Zone is a Percy Mayfield cover that can raise any one to their feet. Slow Walk You Down is a Heuy Meaux production and was written by Joe Hughes, Copeland’s original band mate.

This single is very rare and I have been unable to find an exact recording date, however I would have to guess that it was laid down in or around 1973 or 1974. Both sides of these Boogaloo Label release are underrated and deserve recognition, for they represent Copeland’s adaptability to the seventies while still holding strong to his roots as the ‘Texas Twister.’

kenny and the kasuals
LISTEN: Johnny Copeland – Just One More Time

LISTEN: Jannie Willams- I’ve Been True

LISTEN: Johnny Copeland – You’re Game Is Working

LISTEN: Johnny Copeland – Slow Walk You Down

LISTEN: Johnny Copeland – Danger Zone

LISTEN: Johnny Copeland – I’ll Be Around
6 Jan 2011, Comments (3)

Buddy Ace-True Love, Money Can’t Buy (Duke 1964)

Author: alex larotta
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Buddy Ace’s True Love, Money Can’t Buy defines sweet mod R&B to near perfection, a considerable staple from this short-lived era. Much like his musical peers, Ace adapted his blues roots with popular R&B rhythm of the day–a formula he used for a string of local hits produced by one of Houston’s finest record men, Don Robey, and his imprint for local musical legends, Duke Records. Though Ace enjoyed moderate success on the local charts and radio airplay, he was never able to reach a major breakthrough on the national charts, trailing a misguided musical career to relative obscurity before his passing in 1994. Ace remained with Duke for 15 years before moving on, an enduring phase of his career that likely provided most of his popularity and remembrance. True Love, Money Can’t Buy holds steady at a dance friendly mid-tempo beat–accompanied by fluttery flutes, an over-easy rhythm guitar, and Ace’s powerfully transcendent vocals. Add some sweet backup female harmonizing, and we have some fine-pressed Texas R&B.

Ace moved to the Bay Area in the 70s, looking to further his career in the entertainment enclaves of the West Coast, though never breached mainstream attraction he sought and arguably deserved. Ever the dedicated and tireless musician, Ace continued touring and recording in his elder years, cutting another three records in the last decade of his life. When it comes to the sheer enormity of the Duke/Peacock record catalog, Buddy Ace’s 45s remain some of my favorite from the entire archive. Here’s to hoping for a complete (legit) reissue of his Duke recording catalog, but in the mean time, enjoy:

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LISTEN: Buddy Ace-True Love, Money Can’t Buy

10 Aug 2010, Comments (2)

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

Author: alex larotta
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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.

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LISTEN: Dimas- Why Am I Treated So Bad
28 May 2010, Comments (0)

Warren Storm – Slow Down (Sincere) 1965

Author: michael selman

Warren Joseph Schexnider was born in Vermilion Parish in 1937. Being that his father was a drummer, Warren fell into music at an early age, picking up the sticks and standing in for his father at 15. Storm is considered a pioneer of the Swamp-Pop sound, which features a blend of Cajun signatures with an overlay of R&B. Warren was greatly influenced by Fats Domino, which was the inspiration for his first group, The Wee-Wows. Continuing to play drums, in 1956 Storm formed The Wee-Wows a name Storm decided on because crowds would yell WEE WOW during their set. They were a cover band playing everything from Fats Domino to Elvis to Hank Williams.


Storm changed the name of his group to the Jive Masters, when Storm signed a contract with Jay Miller. Warren also changed his name from Schexnider to Storm as to fit on the record easier. The name supposedly came from a 50s star name Gale Storm. With this new contract Warren also picked up the microphone and started singing for the group. Amazingly Storm’s first single was a hit. It was recorded in 1958 for Miller’s Nasco label. The “Prisoner’s Song” b/w “Mama, Mama, Mama,” hit #81 on the Billboard charts and sold 250,000.


The Prisoner’s Song was a cover of a 1920s hillbilly tune. Guy Massey, however transcribed by his brother Robert, originally copyrighted the song. Robert F. Taylor, a prisoner, who in Blakely, Georgia county jail, carved The Prisoner’s Song into the wall of his cell. The version of this tune sung by Vernon Dalhart is rated as a 1920s all time best seller, selling seven million copies worldwide. The Dalhart version charted for thirty-two weeks, twelve of those weeks at #1.

Storm did continue to play as a session drummer playing with heavy blues musicians of the day including: Lazy Lester, Lightnin’ Slim, Slim Harpo and many others, not to mention a short time with The Shondells. In 1964 Storm joined up with the rising “Crazy Cajun” empire, which is the reason for this post. Meaux put Warren Storm singles on the Tear Drop, Pic 1 and Sincere labels. In 1965 via Huey Meaux, Storm recorded a cover of the 1958 tune by Larry Williams, “Slow Down.” Williams recorded for the Specialty label as a replacement to Little Richard, who had given his life to GOD and left the music industry behind. Williams is mainly remembered as a recording artist who influenced the increasing Rock & Roll movement, which he did mainly with his original tune “Bony Maronie.” “Slow Down,” in the mid sixties was already a rediscovered hit, for the masses, being that the Beatles covered the tune in 1964 for their Something New LP and Long Tall Sally EP.

In 1967 Storm recorded the “Prisoner’s Song” once again, this time for Meaux’s Sincere label, and not as a 78, as the original, but as a 45. This recording took place at Huey’s own Pasadena Studio, “Pasadena Sounds” professionally known as Recording Service Studio, Inc. I am not sure where “Slow Down,” was recorded I can only assume while on the road, but don’t have the resources to back it up. It could have been recorded at Gold Star, which Storm did record at numerous times, for Meaux didn’t build his studio, “Pasadena Sounds” until late 65. I personally enjoy the less successful “Slow Down” for it’s upbeat R&B qualities rather than the “Prisoner’s Song,” slower tone, not to mention the great scream and BBBBB (motor boat noise) half way through, “Slow Down” in which Storm gives a great rendition of Williams’ original. Storm went on through out the seventies and eighties and nineties recording and touring and was inducted into both Louisiana and Texas’ Music Hall of Fame. He actually still, to this day, plays 200 nights a year.


LISTEN: Warren Storm – Slow Down

LISTEN: Warren Storm – Prisoner’s Song

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