Category Archive

By Cousin Justin

One of the most exciting things about selling records has been selling obscure music to the people originally involved.  Recently we sold this 45 to original The Novelty drummer Chip Pace.  When he brought this fact up to me I asked if he could tell me what he remembers from the sessions and he gave me this info:

We recorded the record at Trod Nossel Studios; here is the link.  Good link for you to get information on many obscure 60’s\70’s east coast bands. Follow the website and links into some interesting information. 

We recorded the 45 RPM with legendary Doc Cavaliere at Trod Nossel Studios in Wallingford CT.  Doc mentored us over 2 days of rehearsal on how to get the tracks perfect.  It took over 25 takes to get the lead vocal tracks to sound gritty enough to please him.  Doc made the lead singer (Ron) drink to get him a little drunk so he would loosen up and deliver the performance he was looking for.

Doc took a particular liking to the drum tracks (Chip), so much that he was adament about doing too many retakes because he did not want to lose that driving feel. He felt the drum tracks were hot!

The keyboard tracks (Larry, on a Hammond B3) were solid as were the rhythm guitar track (Dave) with the exception of producer Bill Durso over dubbing some extra guitar tracks (most notable in the opening of “Handwriting On The Wall”) to give it a more funky-bluesy feel.  The horn players (Ray & Dan) were hitting some pretty high notes during that session and pretty much shredded their lips, another reason to limit retakes. 

All in all it was a memorable experience and we all walked away feeling great about the session.  The record did quite well on the East Coast and opened the doors for promotional concerts and a video, opening for acts like The Young Rascals.

Thanks,

Chip

Novelty-Handwriting On The Wall

Novelty-Long Time Waiting

By Max Conroy

The Raconteurs played Saturday night at the Fillmore Detroit with the Atlanta-based garage punk revivalists the Black Lips.  All 2900 seats were accounted for, but the place didn’t seem overly packed at all.  This would probably have been a concert that I wouldn’t have thought twice about, seeing the ad in the paper or hearing about it on the radio, but a friend called me before getting tickets the day they went on sale.  What the hell, I’ll go; I like the rock and roll; I consider myself a fan of J. White even though at times I want to dislike the White Stripes.  I really like the Black Lips, particularly their 2005 record Let It Bloom, but didn’t know that they were opening until after I’d committed to the event.  No matter what you think about White’s music or his opinions regarding his music, he’s done a lot for rock and roll.  I can’t blame him for leaving Detroit either.  That said, I can pretty much take or leave the Raconteurs.

When I first heard that White was forming a band, I thought that it was a great idea: breaking away from the mold of a two-person ‘band’ where he most definitely calls the shots to working with three to four other extremely talented people, writing songs and collaborating in a super group, like they did back in the late sixties through the seventies.  I could really give two shits about Brendan Benson, based purely on ignorance, but drafting the rhythm section of the Greenhornes, bassist Jack Lawrence and drummer Patrick Keeler, made me have to take this band seriously.  I have seen these two play live probably more than any other group of musicians. 

I’ve seen several incarnations of the Greenhornes, as a four-piece and a trio, and have seen them play with Holly Golightly several times.  One of my most profound dipshit, foot-in-mouth, moments was making some boneheaded comment about how the Greenhornes weren’t all that great to Holly Golightly while smoking cigarettes outside of Kraftbrau Brewery in Kalamazoo, and she basically said, “There are a lot worse bands out there.”  About ten minutes later, the Greenhornes tore the place apart.  I’d seen them open for Golightly a few nights prior at the Magic Stick and they didn’t exactly put their best foot forward, but every time that I’ve seen them since, they have been absolutely amazing; one of the best bands I’ve ever seen.  And so much of what made them so good was their impossibly tight rhythm section; Keeler, the definition of the jazz-influenced rock drummer, killing the skins, sweat flying everywhere, drinking whiskey; and Lawrence the silent rock carrying the rhythm, his expression is comparable to Elijah Wood’s character in Sin City:  blank, verging on scary.

I got the Raconteurs first record when it came out, but never really listened to it seriously.  I also had the chance to see them a Lollapalooza a few years back, but chose to see some other band that was playing there at the same time; it might have been Sleater-Kinney playing their last non-Olympia show.  The music seems fine, and I’m not sure why I haven’t taken the time to listen to their records, maybe there just hasn’t been enough time, who knows?  So this show was a good opportunity for me to really give their music a chance.

Upon entering the Fillmore Detroit, if you are a guy, you have to empty your pockets, hold all your shit for security to go through while they frisk you.  It’s been awhile since I’ve had to do this and was somewhat freaked out by it as I did have something that would be considered contraband, which I held under my wallet, hoping they wouldn’t notice.  They were some huge fellows and seemed very good at their job.  I made the mistake of wearing a green shirt that said ‘Boston’ on it with a clover.  The guy who was about to frisk me mumbled something, and it sounded to me like, “If I find anything in your pockets, I’m going to fuck you up.”  My stomach sank as I was holding onto my wallet and contraband, hands shaking.  I quickly ripped out anything else that I had in my pockets and explained rapidly what it was.  He could tell that I misunderstood what he’d said and repeated it: “I should fuck you up for wearing that shirt.”  That I could handle.  The Pistons were just knocked out by the Boston Celtics in the conference finals.  “Oh, sorry, man.  I totally didn’t think about it.”  “You should go home and burn that shirt.”  “Oh, I will.”  My hands were still shaking when I bought a round of beer five minutes later.

Read the rest of this entry »

By Cousin Geoff 

Aaron Timlin, executive director of CAID, is planning a 192 hour dance-in to protest the unnecessary force Detroit Police used to break up a recent after-hours funk dance party.  John Sinclair would be proud. 

A dance protest seems like no big deal, except that the Detroit Police told them that they needed a permit to dance, and this was one of the things they got ticketed for. Timlin was quoted in the above mention freep article saying, “We’re standing up for what we believe in.  We’d prefer that the police come dance with us.”  Translation: screw you and your laws, we’re dancing, come and stop us.  Totally a page from Sinclair, who once stated that authority figures have no right infringing on the people’s consciousness.

This has gotten a huge amount of attention, with the freep spinning it in favor of Timlin and those who were ticketed at the party.  The comments section on both articles in the freep have a ton of responses, with people taking both sides.  My initial reaction was that this was totally uncalled for, but now I am starting to see it from the DPD’s perspective.  If the police gave the art establishment a fair warning in advance, and they still broke the law, they had every right to crack down - just maybe not with so much force and intensity. 

But let’s break this down a bit further.  Had this been a mostly black party or a gay club illegally serving alcohol after hours, would there have been this much fuss made?  Or did the police treat these white suburbanite hipsters like they would anyone else? 

I am very interested in seeing how the police respond to this act of civil disobedience.  Do they let ’em dance, or will they show these hipsters who runs things in Detroit? 

Maybe Timlin should hand this 45 to the DJ and see where it takes everything:

by Cousin Geoff

I’ve talked before about Detroit psych/funk artist Fugi, and his unreleased 1968 Chess LP that was reissued on Tuff City.  As what usually happens when we’re digging something, more stuff sort of turns up.  So I wasn’t too suprised when his promo copy of Red Moon Part 1 and 2 on Grand Junction came out of recent collection, but I was excited.

Fugi is backed by Detroit funk-rock group Black Merda (play on black murder) on these cuts.  The history of the connection between Fugi (real name Ellington Jordan) and Black Merda is shakey.  Some people say that they were a part of the same band, others say that Fugi was the front man on this and the other 45s he put out, which were backed by Merda.  Others say that Fugi wanted to join Black Merda but they turned him down but backed him on the stuff he wrote.  I’ve also heard that Fugi was a promoter for Chess and helped sign other Detroit talent, and this may have played a factor in Fugi getting them to play with him.  Whatever the relationship was, it was Fugi who wrote this psychadelic brand of funk-rock that was considered too out-there at the time to sell to the masses.

Fugi had problems with drugs and legend has it that he wrote the song Red Moon as he drove around Detroit at night while high.  Max described Fugi’s music as “dark, doom funk.” In Detroit in the late 60s, with all that was going on, it’s no wonder that music was produced like this.  It’s quite the opposite from the happy, feel-good Motown sound, but it’s perhaps a more accurate picture of the gritty, grimy, racially tense city.

Red Moon, Part 1:

Part 2:

Soul legend Solomon Burke will play a free show tomorrow at Campus Martius park on Woodward In Detroit. Call 313-962-0101 for more details.

Freep.com had a great mini-interview with Burke, with the 68 year old discussing his love for Detroit, his time spent working with Aretha, and his upcoming album, where he performed songs written for him by various artists including Cousin Geoff favorite Ben Harper:

Q: Your collaboration with Ben Harper, “A Minute to Rest and a Second to Pray,” is easily one of the best moments on the new album. What was it like working with him?

A: The first time I met him was right in the studio, and I was intrigued and excited. Ben said, “I’ve only got the first verse done. I ain’t finished with it yet.” So I told him to finish the song right now and then we immediately recorded it. As we speak right now, some folks don’t even have a home. In the last 48 hours, how many people have (only) a minute to rest and a second to pray?

Read the rest of the intereview here.

Check out some Solomon 45s we have in the store here.  We did come across a copy of his hard to find Rock and Soul LP a few years ago, and we regrettably sold it as Justin and I could not hustle the other into letting one of us have it!

FOR SALE

Darrow Fletcher came from the local city of Inkster, a suburb outside of the City of Detroit.  The most famous residents to have come out of Inkster was the Marvelettes, as a side note, this fact is advertised when you drive into the city.  Inkster is one of the few suburbs of the city that has a mostly African American population, and was at one time the home of Malcolm X.  Both tunes are strong so I offer both up to your enjoyment.

When Love Calls

Changing By The Minute

For Sale 

I like this one a lot, so much that I haven’t really decided if I want to sell it.  The Six O’Clock News were formed by Rockabilly hall-of-famer and Detroit native James Wayne Boyer.  He originally formed the band Jimmy Boyer and The Newports, who were a top local band in Detroit and Windsor in the early to mid 60s.  Around ‘68 or ‘69, he formed the Six O’Clock News, who recorded only one 45, Train Ride Down Jasper Way / Working On The Road, in 1969 on Novi based label Adell.  After the Six O’Clock News broke up following their brief time together, Boyer went on to play in a few more local bands before touring nationally with a Nashville based group called the Billy Swan Band. 

The A side to this promo copy, Train Ride, is a great song.  Jimmy’s rough and gruff voice give emotion to a hard working railroad love song, backed by a Dennis Coffee-esque funkabilly band.  It’s a fairly rare 45, but it’s unlike many small label Michigan garagers that we come across, the song writing is actually good (and original).  If CCR put this out, it could have been a national smash hit.  As it was with a relatively unheard-of Detroit band in 1969, they produced about 1,000 or so promo copies, sent them out to as many radio stations as they could, and probably received little if any airplay. The records then sat for years, with a few surfacing here and there.  This one came out of a collection we bought recently that was the remnants of a local radio station’s backstock, hundreds of discarded 45s, deemed not popular enough to be worth a damn, forgotten for almost 40 years, until they landed with us to revive them again. NOW FOR SALE

Listen to Train Ride Down Jasper Way:

Note: The B Side on this, the pop-pysch Working On The Road, was featured on the comp “Voyages Into Pop-Psych Vol. II”, and also on the internet radio station/website Technicolor Web of Sound.

FOR SALE 

I just came across this, and put it up for sale.  There is no info on this record that I can find.  It’s Jupiters’ Children: 1970 weird spaced out garage psych on private label Triple O that I would guess came from Michigan but I’ll have to look into it more to find out for sure.  It’s very possible this came out of Ypsilanti, as this is where I found it.  Pretty interesting stuff and an exciting find, especially if this turns out to be an relatively unknown 45.

Listen to Check Yourself:

Listen to This Is All I Ask:

 By Max Conroy

Hong Kong Blues by Hoagy (ne Hoagland) Carmichael was recorded for Decca in 1942; he penned it and recorded it in ‘39 originally.   It’s a unique side recorded by one of the most highly regarded song writers of the first part of the last century.  Two of his biggest hits were Georgia on My Mind and the A side of this single Stardust. 

The song is a cautionary drug tale about “a very unfortunate colored man who got arrested down in old Hong Kong…for kicking Buddha’s gong.”  Kicking Buddha’s gong is a dated term for smoking opium. It took me a second to realize what he was singing about when I first heard the song.  It’s fairly subtle till the end of it where he actually mentions opium.  He doesn’t mention any specifics about the drug or his habit, only that he cannot leave Hong Kong for his home, which he tells everyone is in San Francisco, but is actually in Tennessee.  The geographic centering of the song is kind of strange in that he’s not from San Francisco but later in the song where Carmichael switches from the narrator’s third person to the first person testimonial, he keeps mentioning San Fran as his home.  Also, how would an unfortunate brother end up in Hong Kong in the 1930s? 

All of this gives one the impression that Hong Kong is opium addiction itself.  The only specific moment where you can really put yourself in his shoes is where he sings:

“Won’t someone believe me/I have a yen to see that bay again/But when I try and leave/Sweet opium won’t let me fly away.“ 

He’s asking his fellow opium enthusiasts in the den to take his desire to quit drugs seriously, but he’s obviously ignored. Also, the use of the word ‘yen’ is a pun here as it comes from the Chinese words for ‘addiction’ and ’smoke’.  Carmichael once described his voice “…as the way a shaggy dog looks…I have Wabash fog and sycamore twigs in my throat.”  His inflection and the first person voice in the middle of the song made me assume that Carmichael was black, so I was surprised to see a picture of him, white as can be.  Another strange thing about this song is that it’s difficult to discern exactly when he’s singing this in relation to his incarceration.  He doesn’t lament getting arrested and still has hope that he’ll make it home, so I’m inclined to think that he’s speaking before he got arrested. 

In the chorus he sings that he needs someone to love him.  When I first heard this, I thought that it was such a 1930s view of drug addiction that finding a good woman could save you from yourself and drugs, but if you listen to the rest of it, he’s asking to find someone that loves him so they can take his body back home.  Pretty grim stuff.  There’s also a part where he begs for fifty dollars to get home with, but one is left with the impression that he’d blow it on dope.

This music is great for the depressant glow of a burgeoning alcohol buzz, alone.  The white jazz comes out a bit more on Stardust, but it’s still worth a listen eighty-one years after it was written.

Hong Kong Blues:

Stardust:

by Cousin Geoff

Alright, one more fantastically awesome 80s Detroit sports 45 and then I promise I’m done for a while and will go back to more, um, serious takes on good music.  Maybe.

What can I say about this 45?  It was done by Gino Danelli in 1981, the same guy who put out Ain’t No Stoppin’ us Now/Tigers in ‘84.  Cousin Justin tells me that Gino still sings around Detroit these days.  I think that Gino’s next song should be about Cousins Vinyl’s rec league basketball team that was so sweet two years ago - we led the league in techs, ejections, and illegal alley-oop dunks.  We were surely on the same level as these other Detroit sports legends that Gino chose to sing about. 

This one is about Thomas Hearns, one of the most legendary Detroit boxers ever.  Nicknamed The Hitman, or the Motor City Cobra, Hearns still lives in the Detroit area, and is always at the Pistons games these days flashing around. I shook his hand there once.  I said, “Howya doin’ champ!”, as he walked by and he stopped and shook my hand and smiled.  What a great boxer - even though he lost, who could forget his classic fight against Marvelous Marvin Hagler, the most electrifying fight in history?  Known for his tall, lanky build and his aggresive flicker jab, Hearns won world championships in three different weight classes, and is truly worthy of a Gino Danelli song. 

listen to The Hitman, on Trio Three records: 

by Cousin Geoff

The Sun Messengers are one of my favorite local bands.  I’ve written about them a couple times, and cheered them on at Pistons games, where they serve up the funk as the resident house band.

So, I was excited to not only find a 45 by The Sun Messengers that I had never seen, but lo and behold it was another Tigers song to add to the collection.

There’s good parts to this song, like the opening, and the chorus, but the singing is really pretty bad.  The front says it’s The Sun Messengers w/ Tyrone Hamilton and the Bleature Creature Choir.  This Tyrone Hamilton is, I assume, the one singing and it sort of sounds like someone wrote a song about the Tigers and then performed it at a family reunion and the family is too nice not to tell him he can’t sing worth a lick.  I’m guessing that Tyrone Hamilton was one of The Sun Messenger’s friends, and they didn’t have the heart to get someone else to do lead vocals on this track. 

That being said, I really don’t care too much.  In fact, I sort of like it better that it’s kind of bad.  It’s still an awesome song.  The label alone is worth adding to my collection.

What’s that you say, I said the Tigers won again today!

Listen to Tiger Dynasty:

by Cousin Geoff

Frikid Pink is one of those bands that is consistently overlooked and underrated among late 60s Detroit garage rock acts.  I posted before about the Soulbenders and thier version of House of The Rising Sun.  Frijid Pinks’s take on it shows why they were a national act and the Soulbenders were stuck in the West Michigan local dance scene.  And yeah, the Soulbenders recorded on Fenton, and they’re obscure, and that sort of makes them cooler now, but in terms of pure ability, there’s little comparison.

This record, which features their big hit - a guitar-heavy version of House of the Rising Sun, propelled their first, self titled album on Parrot.   This song is the pinnacle of what Frijid Pink was about.  They apparently were so popular in Detroit around 1969 that Led Zeppelin opened for them.  However, you hardly ever hear them mentioned in the same breath as The Rationals, SRC, The Stooges, early Bob Seger, The MC5 - first-team Detroit rock and roll bands from that era.  They seem to be on that second-team list, along with bands like Mitch Ryder, Brownsville Station, or The Frost.  Why is that? 

Listen to House of The Rising Sun:

by Cousin Geoff

Ann Arbor based rock and rollers Brownsville Station had a breakout hit in 1973, with Smokin’ In The Boys Room, rising as high as #3 on the U.S charts that year.  Smokin’ was one of the first teen-angst songs, about pissed off students taking relief by sneaking into the boys room for a smoke.  I like the B side even better, though, a great garage cover of Robert Parker’s classic jam Barefootin’, also done well by The Rationals off their album on Crewe. 

According to Wikipedia, the bass player, Mike Lutz, works at Oz’s music in Ann Arbor and teaches guitar and bass lessons.  That’s awesome!  Mike, if you read this, can you tell us a little more about the band?  Brownsville Station was led by crazy man Cub Coda, whose wild stage antics were well-respected and studied by many, including Alice Cooper.  Can’t you hear School’s Out as the perfect song to play next after Smokin’?

Check out Barefootin’:

And here’s Smokin’ in the Boys Room:

by Cousin Justin:

The Dream Girls first released this 45 on the Twirl record label that was owned by Harry Balk and Irving Micahnik. Harry Balk was a Detroit movie theater owner that ran talent shows during down times. Harry used the pseudonym Tom King for his writing credits. Harry and Irving started the label to release Johnny & The Hurricanes hit “Crossfire”. Twirl was a conduit for Detroit talent to sign with the New York Big Top label as Embee Productions. The biggest act to come out of this partnership was Del Shannon. While the other credited songwriter on both sides is Edwin Harrell, BMI has the other credited Songwriter of “Don’t Break My Heart” as Johnny “Paris” Pocisk of the Hurricanes. Cameo-Parkway has had a long history of breaking Detroit acts nationally Including Bob Seger, The Rationals, and ? & The Mysterians. When Johnny & The Hurricanes “Crossfire” And “Red River Rock” hit the national charts they appeared on Dick Clark’s T.V. show out of Philadelphia. Bernie Lowe was the owner of Cameo-Parkway and used the local Dick Clark show to break his own talent and get new talent. The Hurricanes already had a distrubution deal with Warwick.  Cameo undoubtadly wanted a chance to get another teen driven act in the roster. The catalogue # on the Twirl press is 1002, which indicates it was the follow up 45 to “Crossfire”. Was the 45 merely a vehicle for the Hurricanes to get another deal?  It could explain the Edwin Harrell songwritng credit. This relationship must not have lasted long as Don’t Break My Heart was released in 1960 with “I Could Write A Book” as the flip. This may have been the first Embee produced song to land on Big Top.  The Detroit-Cameo Garage Rock connection could be traced more to Terry Knight & The Pack and the Lucky Eleven label, also started in 1959……..

If Johnny Paris was the other Songwriter on these songs, the sax solo makes sense. Whether the Hurricanes are the backing group I have no idea. On the Johnny and the Hurricanes site it does state they played behind them a lot.

This down tempo track did not make it to the Big Top release

BID ON THE 45 HERE!

by Cousin Geoff: 

Detroit’s Roostertail Club, overlooking Lake St. Clair and Belle Isle on the upper turn of the Detroit river racetrack, was established in 1958 by Joe Schoenith.  The club was super hot in the 60s where garage bands and soul groups would play to crazed, dancing young hipsters, and quickly became one of the most well-known and exciting places to be.  The Roostertail hosted such performers as Tony Bennett, Eric Clapton, The Rolling Stones, Aretha Franklin, local soul and garage acts who were making a splash on the national scene, and all the big Motown groups.

The Four Tops recorded a legendary live album there in 1966 in the new glassed-out upper deck, but they weren’t the first band to grace the new digs.  That honor would go to the garage/house band The Four Sharps, who put out their lone single on Gale Recording Enterprises in 1965.  Soul singer DeAnne James recalls the Four Sharps, (via this Soulful Detroit thread):

“The first band in the upper deck was the Four Sharps’ Russ on guitar, Frank Bias on drums, Ronnie Godo on organ and I can’t remember the bass player. I was the feature vocalist (DeAnne James). that was the summer of 1965. We traveled to Chicago to find a replacement band and found a trio playing at a record hop in the suburbs. Tom and Jerry Schoenoff paid for the trip to find the trio. The Roostertail was only a couple miles from where I lived and the brothers treated me great. The place was beautiful. I have great memories of the Roostertail…”

Following this someone mentions that they have the 45, U-44/Doin’ The Roostertail, on Gale Recording Enterprises, and the songwriting credit is given to R. Sweets.  She replies:

“That’s Russ Sweets. My goodness I sang backgound on u-44….”u-40 forty four.” I think that was the number of the race boat that Jerry Schoenoff (owner) raced in the Hydroplane races during the 60’s. Gale was the name of the corporation that started the Roostertail. The father of the twins owned Gale Electric…that was the money source I believe. You guys are incredible.”

I was also excited to read in the thread someone else thanking the owner of the 45 for providing info on a virtually unknown label and record.  Luckily I was able to find a copy to be able to share with you.

listen to Doin’ The Roostertail: