Based on the premise that the true Home of the Groove, at least on the North American landmass, is the irreplaceable musical and cultural nexus, New Orleans, Louisiana and environs, this audioblog features rare, hard to find, often forgotten, vintage New Orleans-related R&B and funk records with commentary. Some general knowledge of N.O. music is helpful here, but not required to get your groove on.
I currently host a weekly show, "Funkify Your Life", on KRVS 88.7 FM in Lafayette which includes music covered on HOTG and more. You can listen-in live Thursdays at 1:00 PM or to the rebroadcast Fridays at 9:00 PM, or stream shows on demand and see playlists at the station website under the Programs tab. I am a former resident of Memphis, TN, where I did a weekly radio show called "New Orleans: Under the Influence" from 1988 to 2004 on WEVL 89.9 FM. I've been collecting and researching this kind of music (& others) even longer.
Individual audio files are accessible for a limited time after posting. Link to access audio will be on the song title. No link? Audio's outa here.
When you hit a song link, a player streams it in a separate window. For other listening options, right click on the player when it comes up.
Note: Audio files on this blog are not high resolution (usually 128k) and are posted for reference purposes only. Please do not link directly to them. Use caution if booty shaking while operating vehicles or heavy machinery. Whenever possible, please buy music by these artists!!!
Until further notice, the separate streaming site, HOTG Internet Radio, is no longer operational, as the licensing provider went under. I hope to re-active streaming of my archives at the site at some point, and will post notice on the main page at the time.
EMAIL: hotgblog (AT) gmail (DOT) com
ARTISTS & LABELS (or reps thereof): Want to submit your New Orleans/Louisiana grooves for review or posting consideration,
or want an audio post discontinued? Email me.
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section is now moderated. Legitimate comments will be posted after review. Thanks for your understanding...and patience. NOTE:
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QUOTES OF NOTE:
"New Orleans is of such key importance to American music because historical factors combined to make it the strongest center of
African musical practice in the United States, and, cliches aside, that practice really did travel up the Mississippi and did
spread overland." - Ned Sublette, from Cuba And Its Music
"I heard a group called Huey Smith & the Clowns, out of New Orleans. Now this is where funk was really created! That's where funk originated....
I couldn't understand how to do it, so this drummer from Huey Smith's band [Hungry Williams] showed me how to play [it]." - Clayton Fillyau,
drummer for Etta James and James Brown, on the origins of the 'James Brown Beat', in The Great Drummers Of R&B, Funk & Soul, interviewed by Jim Payne.
"A lot of those New Orleans drummers would come through, and I got a lot of stuff from those guys....Tenoo [Coleman] was...as funky as any of them.....
I learned some of that funk by listening to Tenoo." - John 'Jabo'Starks, drummer for Bobby Bland and James Brown, to Jim Payne as above.
"At the risk of sounding egotistical, a lot of the broken up stuff that these guys are playing now stems from the stuff that I had started doing." -
Earl Palmer, on his early days drumming with Dave Bartholomew's band, to Jim Payne, as above.
"With funk, it's almost more what you don't play than what you do play. I like those long silences between riffs,
I like the empty spaces. Those empty spaces, when you stop and let the groove wash all over you, make the
difference between fake funk and real funk." -Art Neville in The Brothers Neville
"Thank the good Lord for the funk musicians." -Jon Cleary ("Pin Your Spin")
"Without New Orleans, there would be no America." -Keith Frazier, Rebirth Brass Band, 2005.
"....don't be fooled. This city is deeply wounded. I'd say it's like an amputee
with phantom memory." -David Freedman, WWOZ, post-Katrina.
"If there was no New Orleans, America would just be a bunch of free people dying of boredom."
-Judy Deck, in an e-mail to Chris Rose at the Times-Picayune
"I'm not finished!" - Wardell Quezergue's final comment of the night after accepting the 2008 Best of the Beat
Lifetime Achievement In Music Award from Offbeat
"I discovered New Orleans along the way, and that made a big difference - It loosened me up." - Richie Hayward, the late drummer for Little Feat.
"National Funk Congress Deadlocked On Get Up/Get Down Issue" -The Onion
"Find The Thing You're Most Passionate About, Then Do It On Nights And Weekends For The Rest Of Your Life" -ditto dat
Gotta love the lamentably lateErnie K-Doe, Emperor of the Universe (Local 504), whose helter-skelter musical career was an all-American entertainment amalgam of moxie, mojo, mayhem, flim-flam, ham, raw talent, copious energy, alcoholism overcome, shameless self-promotion, and, just possibly, delusions of grandeur. Over the years, he had far more misses than hits in the marketplace, played more dives (including his own belovedMother-In-Law Lounge) than first class venues; but, to his credit, he kept on plugging, the perpetually optimistic Comeback Kid, just one hit record away from regaining his rightful place in the Big Time.
Ironically, how right he was. Had he hung on a few more years beyond his 2001 passing, he could have resumed his path to multiverse domination. Late last year, his recording of Allen Toussaint's "Here Come the Girls", from the 1970 Janus LP,Ernie K-Doe, was used ina popular commercial in the UKand became a hit single there. Because of that, more than 35 years after it first came out, the album wasre-issued on CD. His regal widow, Antoinette, who is now always accompanied on official business by a bewigged, dressed out K-Doe mannequin, and fans had a finerelease party for the occasion; but would that the actual Ernie could have been around to do a victory lap and bring it all full circle. Life, death, and certainly the music business, just ain't fair. But, at least, he didn’t have to deal with Katrina. . . .
Today's rare find is something else, done much later in the game when the singer was in his 50s, and quite unlike anything else he committed to vinyl. It should have had more commercial impact; but, by the late 1980s release date, the 7" 45 rpm record was already an artifact of old technology - almost everybody was selling and buying their music on cassette tapes and the new marvel, CDs . So, as a marketing move, this single was dead in the water from jump - tragic, because, amazingly, it was one of K-Doe's few recordings that ever edged close to the feel and appeal of his whirling dervish, anything can happen, live performances.
Credit has to be given toMilton Batiste, also departed, who co-wrote the tunes with K-Doe and produced this single and most all of K-Doe's later recordings for his Olympia Music and DuBat companies. Batiste was a trumpeter and co-leader of the Olympia Brass Band for many years; and after producing and recording singles and albums for the band, he branched out to record other local talent, including K-Doe, who he also managed (as much as anyone could). With a strategy of just letting K-Doe be K-Doe, Batiste oversaw a number of solid sessions with the singer - but none were more quirky and intense than the sides of this 45, starting off with "Jump Into Your Love".
"Jump Into Your Love"Mr. Ernie K-Doe and the Olympia Music Company, Syla 120, ca 1989 (Tune in to HOTG Internet Radio)
From jump, the full-tilt groove of this mover and shaker careens back and forth on a bucking backbone of bass and drums, while the horns, probably Batiste's arrangement, spew the hooky central riff in a fusillade of blows and jabs nearly drowning out the hot, processed lead guitar. K-Doe rides this runaway rave-up with the confidence of a seasoned champ, not so much singing as rhythmically vocalizing with an abundance of attitude and joyous abandon. With shouts, screams, giggles, and random asides, he freely embellishes his Drano-gargling delivery of the scant lyrics, a mix of obvious (and oblivious) innuendo with mangled nursery rhyme verses ("Little Miss Muffin, sittin' on a tuffin ....."). There should be a warning that K-Doe's enthusiasm is wicked infectious, and giving in to the sheer frenzy of it all will very likely induce the electrocuted money dance and result in your ending up a tangled, breathless heap on the floor. Strangely, Ernie's"Burn, K-Doe, Burn" vibe was never fully exploited in the studio, and shows up even his hits as pretty tame affairs. In a just world, it should have propelled him back into the spotlight like a cannon shot. But, like I said, . . . at least he missed the flood.
"Do You Want Some" Mr. Ernie K-Doe and Bayou Renegade, Syla 121, ca 1989 (Tune in to HOTG Internet Radio)
Then, there's "Do You Want Some", which K-Doe turns into far more than just a suggestive musical question. It's a linear, fairly generic, funk groove. But lyrically, Ernie is again left wholly to his own spontaneously free-associating devices, providing much bizarro spunk to the track, as he issues forth an off the hook series of lustful entreaties and vocal effects, including several blood curdling screams, with the one at around 1:08 making James Brown sound like a nancy -boy. Good gawd, indeed. As if the soft-core trashiness needed reinforcement, they mix in a woman's voice emitting sounds of arousal to Ernie's over-the-top come-ons. Nice touch. Not only should there have been video - but you get a sense that Ernie could have had a lucrative second career in porn movie soundtracks.
Backing him on this amazing and hilarious adventure in sleaze are Bayou Renegade, a/k/a the Bayou Renegades, a group headed by, I believe, guitaristJune Victory, who recorded the original version of their Mardi Gras wild-thang , "Down On The Bayou", for Milton Batiste back around that same time. Within a few years, Batiste issued these two sides along with a batch of reworked K-Doe hits and a few covers on a K-Doe CD with the daunting title, I'm Cocky But I'm Good Just Standin' On Top Of Da ' World. In the mid-1990s came another CD, Fever!, produced by percussionist Ken 'Afro' Williams (a member of Chocolate Milk) for Batiste's DuBat label, a mixed bag of cover tunes and new material, highlighted by K-Doe's haunting vocal on "Only 11 Roses". Various tracks from those CDs have since been recycled on several compilations of his later work, includingThe Best Of Ernie K-Doe, where you'll find both "Jump Into Your Love" and "Do You Want Some".
I've had these two tracks for years on CD; but, until I discovered the single, I never listened to them closely or realized that they came from what was the last 45 Ernie K-Doe made. The fact that it really is a revelation of what could happen in the studio when K-Doe didn't hold back (didn't have anything to lose?) gives this plastic piece of the past an intrinsic value far beyond price lists and auction bids, affording new insight into one of New Orleans' most eccentric and enduring entertainers. Long may he burn.
Here's another New Orleans rarity that, like the previously posted Johnny Moore (Deacon John) 45, came out on the Wand label, based in New York. Wand issued a number of singles by New Orleans artists between 1966 and the mid-1970s, leasing virtually all of those tracks from various production companies in the Deep South - in this case, Sansu Enterprises.
This single features the greatEarl King, performing artist, producer, and, most significantly, one of the Crescent City's best songwriters for five decades until his passing in 2003. While Earl often favored a funky, soulful blues style when he performed and recorded his own stuff, he wrote many different kinds of pop and R&B for diverse local artists including Professor Longhair ("Big Chief"), Willie Tee ("Teasin' You"), Lee Dorsey, and the Dixie Cups. And, of course, his classics have been covered by Jimi Hendrix, Robert Palmer, Boz Scaggs, and Levon Helm, to name but a few. Until I ran across this DJ copy for sale online last year, I didn't know the record existed, although it is listed in various Wand discographies, as I've since learned.
Produced in 1969 by the principals of Sansu, Allen Toussaint and his business partner, Marshall Sehorn, the tunes on this single were part of an album project of all original material by Earl King, Street Parade, ably backed by Sansu's versatile, house band, the Meters. Sehorn got Jerry Wexler of Atlantic Records interested in the album early on, hoping to place it with the company for national release. At the time, Toussaint and Sehorn were raising funds to build their own recording studio, after the demise of Cosimo Matassa's famous operation due to insolvency and IRS seizure. In Bill Dahl's notes to the Fuel 2000 CD re-issue of the Street Parade material (which had earlier been issued by Charly Records on LP and CD), King related that Sehorn was trying to get a substantial advance for the album from Atlantic to help secure a large bank loan for construction; but Wexler would only agree to releasing the LP without any up-front payment. Sehorn refused to budge from his demands; and the deal broke down.
As a result, very few of King's songs from those sessions ever saw the light of day back then. Until I found this Wand single, the only 45 from the Sansu sessions that I knew had been released was the title track, which I wrote about back inJanuary of this year. It came out in 1970 on Kansu, a small side imprint run by Toussaint and Sehorn.
In 1970, as I've learned, Sansu also leased two songs from Earl's sessions to Wand, which appeared on single # 11230, "Tic Tac Toe" b/w "A Part Of Me". The label also had an option on another set of songs " Mama & Papa" / "This Is What I Call Living", and even assinged #11232 to the anticipated single and listed it in their catalog; but, when the first record failed to get significant radio play and generate sales, Wand bailed out on releasing the second 45, though it remains shown in discographies of the label to this day. [Thanks to WFMU's Mr. Fine Wine for getting to the bottom of that mystery. See my 2015 update]. Nothing else happened with Earl's Sansu material until 1979, when Sehorn, for reasons unknown, issued a 45 on an in-house label, Listening Post (#104), with "A Mother's Love" as the A-side and "Mama & Papa" on the flip. That record was born to be obscure. [see my feature on it in the same 2015 post referenced above.] As I noted earlier, in later years, the Street Parade LP was issued by Charly (1981) and then on a CD (1990) with all of the session material [both of those long out of print]. The complete sessions were re-issued as Street Parade on CD by Fuel 2000 in 2003 (and again in 2011, it appears), and by Aim and Tomato (but as New Orleans Blues) in 2005. If you want to hear all the tracks with Earl backed by the Meters, I suggest you grab one of those CDs before they go out of print again. Don't forget, the Fuel has Bill Dahl's helpful notes. Or, if you can tolerate the mp3 format, download 'em from various outlets. Now, on to the record at hand.
"Tic Tac Toe" (Earl K. Johnson) Earl King, Wand 11230 A, 1970 "Tic Tac Toe" was not included (at least with that title and those lyrics - read on) on the session compilations, nor has it ever been digitally re-issued, as far as I can tell. While listening to the single for the first time, I recognized something familiar about the backing track; and, going to the compilations, I found the accompaniment under another title, "Do the Grind", with completely different lyrics. Interestingly, both songs are about dances. Though neither one is outstanding lyrically, King's vocal on "Do the Grind" seems to flow better with the funkiness of the Meter's backing, making me wonder why they didn't just release that one. Find a digital copy and see what I mean.
Of course, on a song with as great a groove as this, worrying about the vocal is a trivial pursuit at best. Toussaint's arrangement here and elsewhere on the album project took advantage of the Meters' natural propensity to funk; and they didn't disappoint. It sounds as if the basic rhythm track here was Zig Modeliste breaking it up on drums, with George Porter, Jr. on bass and Leo Nocentelli on guitar doing some rather simple (for them!) patterns. I don't hear a keyboard at all. Topping off the track were the typically tasty horn charts Toussaint layered in, which added some melodic supporting hooks and rhythmic counterpoint. Personally, I feel the horns were mixed a bit too far back on the single. They are much more prominent on "Do the Grind". Still, this is a fun track to get down to, even if the instructions for doing the dance lose me: "You make a tic with your left foot and a tac with your right. You dribble up on your toe. Pull your knees in tight." About the only part of that I could do would be the dribbling on my toe. It's a guy thing, and not at all suitable for the dance floor. So, let's move on. . . .
"A Part Of Me" (Earl King Johnson) Earl King, Wand 11230 B, 1970 Every breath you take. Every little step you take. . .
Hmmmm, I think Sting owes Earl King some royalties. Seriously, though, "A Part Of Me" is a great ballad with an effective performance from Earl and the band (with Art Neville probably on the organ), and a nice, no-frills arrangement by Toussaint - love the way that little intro grabs me. The song was originally recorded by Johnny Adams, as "Part Of Me", for the local Watch label in 1964, written and produced by King and arranged by Wardell Quezergue. It was a local hit, also doing well in New York City. Of course, no one could match Adams' smooth delivery, which leaped so effortlessly into the falsetto; but I actually prefer King's own version with Toussaint's deft, subtle restructuring. Also a part of Sansu's ill-fated project, this was probably the most straightforward song of the lot, and is about as subdued as you will ever hear the Meters.
I have no information about where these tracks were recorded. Again, this was a time when New Orleans did not have adequate recording facilities, which led Sansu to use studios in Atlanta, Macon, GA, and elsewhere for some of their projects. Wherever recorded, the sound quality on this 45, as well as the CD re-issues, is very good. Again, I highly recommend your picking up Street Parade in some form, as there are rarely heard Earl King songs with great playing by the Meters throughout, much of it quite rhythmic and well out on the funky side. The high quality of the project makes it all the more tragic that Earl, through no fault of his own, lost an excellent shot at getting some national recognition for his efforts, due to a counterproductive business decision by Sehorn.