Tags: r&b

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This one takes the cake. Can’t say how excited I was when I came across this one at Friends of Sound Records some months back (thanks to my man Hobo D for pointing me in the right direction). I was familiar with James “Big Sambo” Young’s funkier cuts on Houston’s Jetstream Records, but had heard that his earlier R&B material was something to behold. Before listening to it, I gathered my purchases and headed to the household and plopped this whopper on the turntable and adjusted the volume to 11. I was floored. Seeing that I have a weakness for wild-eyed R&B stompers to begin with, and not to mention the sheer novelty of the lyrics (and band name) with mention of the fun-loving attendees of the party, including a “big fat chick” (about 400 lbs to be precise), I instantly fell in love with Big Sambo’s heavy hitting Texas-soaked rhythm and blues. It’s such a fun song, but it’s interesting to note that it’s the b-side to the radio plug side, “The Rains Came”. And when better to celebrate “At The Party” than this year, the 50th anniversary since its initial release.

Today’s record has a unique history, and as mentioned before, “The Rains Came” sold well as a radio friendly R&B ballad. It was legendary Texas music producer Huey P. Meaux’s intention to sell this ballad as Big Sambo’s big hitter, and it sold moderately well in its day, with a distribution of nearly 500,000 copies before the NAACP stepped in and asked James to renege on his controversial stage name. I had first heard The Rains Came by another of Meaux’s prodigies, San Antonians The Sir Douglas Quintet with their mid-tempo mod version of the track released on their Best Of album from 1966 (which is their first album, mind you). It is estimated that Huey and his universe of talent under his production name, The Crazy Cajun, recorded some 50 covers of this song throughout the span of a decade. Unfortunately, with limited information, I can only account for a handful, which leaves us much more to unearth. It seems Big Sambo never fully recovered from the NAACP’s meddling in his affairs, and he died at the young age of 45 in Port Arthur, TX with little recognition to the outside world. I’ll include both sides so you can get the full Sambo experience, and I’ll most likely post up his latter release on Huey Meaux’s Houston-based Jetstream Records on a later post. Before I go, check out Red Kelly’s (aka Soul Detective) phone interview with Huey on his storied production experiences and tribulations (good luck deciphering his heavy cajun drawl, it’s as thick as it gets), you can check it out here.

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LISTEN: Big Sambo and The House Wreckers-At The Party

LISTEN: Big Sambo and The House Wreckers-The Rains Came

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

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