Thursday, February 28, 2008

The Jimi Hendrix Experience - Rainy Day, Dream Away

BUDDY MILES
1947-2008



Rainy Day, Dream Away

I got the sad news last night over at Funky 16 Corners that Buddy Miles had passed away in his longtime home of Austin, Texas this past Tuesday.

I was introduced to the sheer energy of Buddy by Electric Ladyland, an album which I simply played to death while I was in high school. Even today, this record still manages to connect emotionally with me every time I hear it. Hendrix was producing the Buddy Miles Express at this point, and Buddy plays drums on two cuts on this monster double album; our current smokin' selection, and the extended jam that arose from it, Still Raining, Still Dreaming. Just fantastic stuff, it took the whole Hendrix experience (if you will) to the next level.

This was the seed that led to the formation of the Band Of Gypsys, the groundbreaking trio which included Buddy and King Casuals bass player Billy Cox. Another major high school record of yours truly, the LP they recorded at the Fillmore East on New Year's Eve 1969 still holds up today as one of the best live albums ever. I was fortunate enough to see them just about a year later, as part of the massive Winter Festival for Peace at Madison Square Garden. Sadly, Hendrix was too stoned to play much (Buddy maintained that he was purposely 'dosed' with two hits of acid backstage), and it was up to Miles to try and pull it all together. It was a short set.

Jimi, as you know, was dead within a year. Buddy Miles went on to carve out his own unique niche as one of America's most beloved musicians over the course of his career.

May he rest in peace.

Monday, February 25, 2008

The Masqueraders - Tell Me You Love Me (AGP 122)


Tell Me You Love Me

PART THREE




This 'trade' ad from early 1969 is kind of like the Rosetta Stone... the key to understanding where Chips Moman and American were at during this period.

If you notice, Tommy Cogbill has been promoted to the 'Executive Board', along with Chips and Don Crews. He had pretty much put down his bass by then, and Mike Leech (who, according to Papa Don, could "imitate Tommy's style to a T") had taken over.

Dan Penn had finally convinced Spooner Oldham to leave Fame and join him at American in early 1968. They put their heads together and came up with yet another smash hit for Alex Chilton and the Box Tops, Cry Like A Baby, which spent almost four months on the charts, including two weeks at #2 Pop (only kept from the top slot by Otis Redding's Dock of the Bay!). Despite that fact (or, as we've seen, maybe because of it), there was no room on the Board for Penn.

Instead, he's listed along with Oldham as one of the staff songwriters for what must have been their in-house publishing company, Press Music. Penn told Guralnick that by mid 1969, Chips told him "Get in or get out" to which he replied "I'm Gone," and opened up his own studio, Beautiful Sounds, which apparently never amounted to much (a fact which Dan attributes both to the assassination of Martin Luther King, Jr. and the arrival of marijuana on the Memphis scene...). In any event, Chips had succeeded in driving him away.

Cogbill became his new production partner, and a record they cut on a Seattle folk singer busted things wide open in the summer of 1968. Although Angel Of The Morning only hit #7 on the US charts, it apparently made number one in seven foreign lands. It was huge, and the possibilities seemed limitless for Merrilee Rush and her band The Turnabouts. Chips used his new found leverage with Bell to establish his own 'American Group Productions' and get them to place his AGP logo on future releases.

Around this same time, a Texas vocal group that had grown tired of getting nowhere up in Detroit showed up at American. According to Heiki Suosalo's in-depth article at Soul Express, they were on their way to Stax, but stopped over at American on the way. When they got there, "Bobby Womack said 'let me hear what you guys got'. So we did a couple of songs for him, and Bobby and Darryl Carter liked them. Bobby said 'look, there's no need for you guys to go over to Stax. Why don't you just stay right here at American, cause you've got a great opportunity over here'... Bobby... told us that we'd probably get lost in the shuffle over at Stax, because they had so many artists on their roster but they really didn't have that many artists at American. So we stood a better chance making it there. We took his advice and stayed. After we auditioned to Chips, he gave us a contract.”

In addition to providing back-up vocals for most everybody from then on, The Masqueraders were also excellent songwriters, and quickly became a part of the team. With Tommy Cogbill as their producer, their first Memphis efforts were leased to Wand up in New York (who had become one of American's best customers by then), an arrangement that Larry Uttal wasn't too happy with. He would release their next single himself on Amy, only he had to change their name to Lee Jones and the Sounds Of Soul. In any event, after one more Wand 45, he got his way, and signed them to Bell.

It turned out to be a pretty good deal, as it gave the Masqueraders their first chart hit after literally years of trying. I Ain't Got To Love Nobody Else would make it to #7 R&B in the fall of 1968, and spend over three months on the charts. With 'AGP' appearing on the label in letters as big as 'Bell', it set the stage for what Chips had wanted all along, his own record label. Jerry Wexler has made no secret of the fact that he was pissed off that Moman didn't choose Atlantic as his distributor (after he had loaned him the $5000 to upgrade American's equipment), and went with his nemesis Uttal instead... a fact which no doubt helped set in motion Wexler's exodus to Criteria in Miami later on.

One of the first artists to record for the new label was Sam Hutchins. The Masqueraders had met Sam back in their home town of Dallas, and just loved his voice. He had been traveling with the group as an opening act at their performances, and when they got to Memphis Chips was impressed as well, signing him as a solo artist. After one release on Mala, he would cut two great singles for AGP (one of which is now up on The A Side), with the Masqueraders providing both the material and the back-up vocals.

The AGP roster included some colorful characters, like football great Roosevelt Grier, who would record some Masqueraders penned material for them, as well as fabled vocal group The Ad-Libs, who had the inaugural release on the label. Mark James (the 'Press Co.' writer who had given Suspicious Minds to Elvis after his own version of the song went nowhere) would produce local garage legends Butterscotch Caboose for them, and Chuck Brooks, who would go on to create some great records with Homer Banks and Randy Brown, cut one of AGP's most sought after releases, I've Got To Get Myself Together.

There would also be three singles by The American Group themselves, including the way cool Enchillada Soul, which was penned by Bobby Womack and our man Rosy Grier(!). As the only recordings this great band made under their own name, these 45s are next to impossible to find and, when they do show up on eBay, go for big bucks (a situation which will probably get even worse now that I've opened my big mouth!). Oh well.

If you take a look at the 'American Group' photo from the Rosetta ad, you'll notice a member of the band that never seems to get mentioned, Ed Kollis. As the studio's official harmonica player, he's featured on some great records (Joe Tex's Skinny Legs and All comes to mind). I wonder whatever became of Ed?

I'm not sure what kind of deal Moman made with Uttal, but it seems pretty amazing that the larger company consented to let AGP handle future 'product' on one of its hottest stars at that point, Merrilee Rush. After her follow-up on Bell only made it to #79, she became an AGP artist, with only one of her four singles for the label cracking the Hot 100. I don't know if Bell was actively 'selling' AGP releases, or what, but it sure doesn't seem that way.

The same could be said for The Masqueraders. After two more Bell releases failed to chart, Uttal consented to them signing with AGP. I'm Just An Average Guy would hit #24 R&B in early 1969, and become the label's biggest hit, but their two subsequent releases went nowhere. Today's smooth selection, the flip of the awesome Love, Peace and Understanding (which closes out our recent American Soul mix) just kills me. An incredible vocal performance of a song they wrote themselves, I think it shows just how talented these guys were. Tommy Cogbill's production on both sides of this record is simply impeccable, and is something he never seems to get credit for. Just great stuff, y'all! [I just found out that The Masqueraders, who now count Sam Hutchins as a member, play at the Blues City Café on Beale Street in Memphis every Friday night.. Wow!]

Another unbelievable signing that AGP made was R&B great Roy Hamilton. His legendary cover of Dark End Of The Street just drips with Soul but, predictably, none of his three AGP singles made much noise. Roy was recording at American at the same time as Elvis, and they split the sessions, with Hamilton cutting in the morning, and Presley in the afternoon. Imagine? Sadly, Roy died in New York shortly thereafter due to complications from a stroke. He was only forty years old.

I'm not sure what happened after that, but AGP ceased to exist as a label by early 1970, after only 26 releases. It could be that Bell (who chose to record new signee Solomon Burke at Fame in 1969) had moved on by then, I don't know. By 1971, though, Atlantic was no longer a client, and Chips was becoming increasingly aggravated at what he saw as a lack of appreciation there in the Bluff City. After something called the 'Memphis Music Awards' completely ignored his studio and its unparalleled string of hit records two years in a row, he couldn't take it anymore, and he closed American down for good in 1972.




You see those two little pictures up there? As far as I can tell, they are the only photographs that exist of this landmark studio. The color one was taken in 1985, after most of the letters had fallen off of the sign. The building was demolished sometime in the nineties, and 827 Thomas Street is a litter-strewn vacant lot today... what a shame. You know, when you visit Memphis, it's hard not to notice the busloads of tourists that Graceland ferries over to Sun... and, after seeing what Stax has done with a rebuilt facsimile of their own bulldozed studio, it's not much of a stretch to envision an 'American Museum' on the corner of Chelsea and Thomas. The Elvis traffic alone would pay the bills. Now, wouldn't that be something?

I'd be their first visitor!

...continued in Part Four

Thursday, February 14, 2008

Ted Taylor- The Road Of Love (Ronn 34)


The Road Of Love

A B SIDE REPLAY

HAPPY VALENTINE'S DAY


Hey all you lovers out there, dig this!

When I started toying with the idea of putting something up here for Valentine's Day, it got me thinking about record labels that sported the traditional red and pink hues associated with this oh so romantic feast of love. Ronn won, hands down... and not only for the actual label, but for one of the coolest 'company sleeves' ever (I've actually seen people selling just the empty sleeve on eBay)!

Alright. Now, all I had to do was find a B side of a 45 with 'Love' in the title... hmmm.

I didn't have to look far! This awesome tune by my man Ted Taylor more than fits the bill. A cover of Clarence Carter's 1967 Fame original, this smokin' version more fully explores the song's potential. Ronn was a Shreveport based subsidiary of Jewel Records, but if you look at the label it says; 'Prod. by R. Hawkins & J. Johnson'. It took a while for it to sink in, but that, of course, refers to Roger Hawkins and Jimmy Johnson, the drummer and guitarist of the fabled 'second rhythm section' at Fame. The Ted Taylor discography over at Soulful Kinda Music dates today's selection at 1969. That, along with the fact that Hawkins and Johnson are listed as the producers rather than 'Rick Hall and Staff', would seem to place this record as one of the first sides recorded at Muscle Shoals Sound. How about that?

So, feel free to kick off your shoes and groove around to that big fat Barry Beckett Hammond solo, whilst reminding your significant other that you can't go down that great big road of love all by yourself!

No, you sure can't. Happy Valentines Day!

Wednesday, February 13, 2008

Trio Los Montalvinos - Amor De Madre (Riney 1462)


Amor De Madre

It's hard coming back this time, man.

Sitting here listening to the winter winds howl outside my door, staring glumly at the grey slush that has enveloped my home town, my mind drifts back to the time I just spent down in the Caribbean...

Yes, as you may know, I love me some Puerto Rico. Truly a 'continent' unto itself, this island is as enchanted as they say it is. From the coffee plantations high in the mountains, to colorful seaside towns that move at their own pace, there is nothing better than forgetting about your GPS for a while, and losing yourself in somebody else's world... know what I mean? Like I said, I'm having trouble re-inhabiting my own.

I admit it, I'm a dreamer.

I've been spending the last few 'Carnaval' seasons down in the incredible Colonial city of Ponce, a place where magic lives. As we've talked about in the past, they've developed their own parallel Mardi Gras experience, built on the same West African traditions that enlivened Congo Square in New Orleans. From the impromptu 'second-lines' that form behind uniformed brass bands in the streets, to the pre-lenten masked balls, to the colorful costumes of the Vejigantes, the similarities are indeed striking.

This year's festival was the city's 150th, and the joint was jumpin', let me tell ya! As the traditional Bomba built in intensity, the crowd steadily increased, filling the central plaza to capacity, with everyone pushing for a better view along the parade route. Amidst the tantalizing aroma of bacalaitos and Medalla, my family and I staked out a great spot and just soaked it all in as the city put on its biggest and best show ever. An absolutely amazing spectacle, the parade continued on well into the night...

Above all else, it's the sound that grabs you. The depth of emotion expressed by everyone from the smokin' high school bands to the guys that pump the salsa through oversized speakers on the roof of their car, tells you that this is a nation that loves it's music. Music that comes in many shapes and sizes.

Like today's unreal selection.

If you've been with me a while, you know that I could never leave Ponce without paying a visit to Tita's Record Shop. Once again, this remarkable woman dug through the crates and came up with a time capsule of a stack of vinyl from the golden age of 'Los Trios' that I got to bring home with me. As I've said before, this is the music that captivates me the most when I'm down there, transporting me to a land of mystery and imagination as I tune it in through the static on my little AM radio... I have no clue who the Trio Los Montalvinos might have been, but this plaintive paean to their mothers' love just knocks me out.

I had always assumed that this type of bolero was a thing of the past, a fading relic of simpler times. Imagine my surprise as my brother and I stumbled into a bar in Ponce after the parade and heard this same authentic music coming from a makeshift bandstand set up in the corner! As it turns out, it is very much alive and well, a fact which was brought home to us by the simply wonderful Trio Romance.

The Trio (with the addition of a top-flite drummer) sang their hearts out that night (competing against the Super Bowl, which was blaring from about eight TVs), in the beautiful three part harmony that is at the 'corazon' of the genre. The ongoing conversation between a big fat hollow body Gibson (that somehow handled both bass and rhythm) and the traditional ten string Cuatro was indeed 'the real thing'... The Trio Romance plays every Sunday night at El Patio Colonial in Ponce. You know, they have a saying down there which, roughly translated, goes something like; "Ponce is Ponce - everything else is Parking."

I can relate to that.

...as I sit here some 1500 miles away, freezing my ass off. Somebody remind me again why it is we live up here in the first place!

Yeah, I know, I've just gotta get back into the swing of things and all of that... it just seems a little bit harder every year.

Una vez más, amo mi Puerto Rico!