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Front man and one of the last original members of the Four Tops passed away this morning. Let’s pay our respect and listen to a little Levi:
by Cousin Geoff
Reissues are generally not my thing, I’d rather search for the original. It kind of feels like cheating, and it’s nowhere near the thrill of playing the real deal. That being said, there is no original album for Fugi’s Mary, Don’t Take Me On No Bad Trip. Tough City reissued this unreleased acid-funk record in 1996 from Detroiter Ellington Jordan, AKA Fugi, originally meant to be put out by Chess’s Cadet label in 1968, but deemed too trippy for them. When I came across this, not only was I put off by the fact that it was a reissue, but the cover was terrible. It looked like a late 1990s Cash Money rap album. But the writing on the cover was more than enough to convice me:
“From The Vaults of CHESS RECORDS…The legendary unreleased album by the blackballed acid-funkateer.” OK - sold.
When I put it on, I was absolutely floored. This is exactly the type of music I seek out. And this was, dare I say, better than the Detroit funk I had been listening to - early 70s Funkadelic and Temptations, even Dennis Coffee. The genre of funk that is uniquely Detroit - psychadelic, rootsy, Hendrix-like, but funk at it’s core. The first Funkadelic record can’t be touched, but this, if it had come out as planned, might be better. The thing is, I don’t understand why Cadet didn’t release this in 1968. Fugi was not some ordinary stoned funk musician trying to peddle an album to a top label. He was an extremely talented song writer who was good friends with Temptation Eddie Kendrix. In 1968, in addition to messing around with his own stuff while being backed by the band Black Merda, he wrote songs for Chess. Fugi rubbed shoulders on a daily with Muddy Waters, Howlin Wolf, Donny Hathaway, Jimmy Hendrix and Etta James. In fact, Fugi wrote the song “I’d Rather Go Blind” (his own version is on this album) for Etta James who turned it into a worldwide hit number one hit, selling 8 million copies.
Fugi did release a few 45s, but it is still puzzling why this album was never put out. I’m fully convinced that he could have become a star, with more albums following this one, plus tours and the whole shot. As for the excuse that I’ve heard that it was too trippy, Detroit psych-soul-funk was what was hot a few years later, around 1969-1970, with the pair of Westbound Funkadelic albums, and The Temptations Psychedelic Shack album, among others. And even if that was the case (which it’s not - it’s perfectly put together and more soul-based funk than psych-rock funk), what about the Cadet Concept label? This was created and put together by Marshall Chess, son of Chess records co-founder Leonard Chess, for the sole purpose of “concept” albums. Rotary Connection is maybe the closest and best known example, and they were way more out-there and, in my opinion, not nearly as good as Fugi. This would have been the perfect album to put on this label, and they flat out blew it.
It’s a crying shame that I had never even heard of Fugi until I stumbled upon this album, although I’m sure the crowd of more seasoned deep funk and soul seekers have known about him even before this was released in ’96. You can pick this up for like 8 bucks at Tuff City, in fact here is their ebay link for this album. Tuff City has lots more reissues, they’re based out of New York and are definitely worth checking out.
As for the record, it’s just amazingly good. I would say it’s worth it to invest the $8 to see for yourself. I’m just sort of pissed that I won’t be able to search for the original, but as long as I have the music, that’s the most important thing!
listen to “Mary, Don’t Take Me On No Bad Trip”:
listen to “I’d Rather Be a Blind Man”
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:
God bless him, Cousins Justin worked his ass off and put up almost 400 45s off a collection he bought recently. A real solid batch, it features soul to modern soul in real nice condition. Here are some that intersted me on first glance:
This just looks sweet. It’s on Bang - Justin claims it kicks ass.
Billy Lamont - Girls Girls Girl/Shake and Jerk
This cool janitor I used to work with used to ask me all the time if we had any Willie Hutch. I wan’t hip to Willie Hutch, but I figured he must be sweet with a name like Willie Hutch. This title has to be good.
Willie Hutch - What You Going To Do After The Part
Bill Withers, on Sussex, one of my favorite labels. Sussex put out some great stuff - catchy funk and soul. Lean On Me is one of those songs you just gotta have.
Justin, is this any good? I’m extremely interested - on a Detroit label I’ve never seen, last name the same as mine, great title.
This looks really promising.
Jimmy Delphs - Do You Know What I Mean
So does this.
Well, I’m going to stop here. But I encourage you to go exploring because there’s a ton more cool Detroit stuff and a bunch more classic mod soul and other more obscure hidden gems. This is a much better batch than I realized. I gave Justin this lead and he sounded kind of excited but not like jumping out of his pants or anything after he bought the collection. After looking this over, it’s good. The condition is excellent too. If you’re hunting, browse around and take some chances here - I think you’ll get some good deals. We don’t really know what’s what - like always, it just goes off starting at $7.50.
Justin just launched a new batch of Soul 45s. These came primarily from one collection - and there’s some real good ones.
Speaking of soul, the Detroit News reported this morning that Motown is kicking off it’s 50th anniversary celebration - even if it is two years early. They also have a fantastic black and white photo gallery of some early Motown artists and behind the scenes stuff that is really worth checking out.
Little Ella is due in a month now. It’ll be me, Jess and Ella. I put on this song this morning for both my girls. This 1967 Tamla LP, fittingly titled I Was Made To Love Her, is my favorite Stevie Wonder album. It also has a great version of Please, Please, Please that goes on all my soul mix tapes. Stevie is The Greatest.
You can’t help but be in a good mood when you hear this song on a beautiful fall Friday morning in Michigan.
enjoy:
Anna, 1127: I’m In Love / One Of These Days
David Ruffin was born in Whynot, Mississippi, and left home at age 14 to pursue a music career. He briefly joined the Memphis gospel group, the Dixie Nightingales. (I actually have a recording of The Dixie Nightingales around the period where Ruffin would have recorded with them, but unfortunatly it does not mention his name on the credits.) After stumbling around the south, he made his way to Detroit where his older brother and future Motown recording artist Jimmy Ruffin was working at Ford Motor Company and trying to make it in the music industry himself. David began singing with a group called the Voicemasters, which was produced by Lamont Dozier and featured group members who would later go on to form the Originals. The songs, “I’m In Love” and “One of These Days”, were recorded in 1961 under David Ruffin’s name, since he sang the lead with the Voicemasters providing back up vocals. The Anna label was run by Berry Gordy’s sister, Gwen Gordy Fuqua.
This 45 failed to sell very well, but in 1964 he was invited to join the Temptations, where he made a name for himself as one of the greatest soul singers in the world. He began singing back up, but quickly moved to lead after the song My Girl was the first number one single for the Temptations. Unfortunatly, David’s ego got the best of him as he put himself ahead of the band and even argued to change the band’s name to David Ruffin and the Temptations. He began drinking and using cocaine heavily and was eventually fired in 1968.
Regardless, David Ruffin remains one of the all-time great voices in the history of soul music, right up there with the likes of Marvin Gaye and Otis Redding.
We were lucky enough recently to find two copies of this Anna single in a recent collection that had similar 45s of early soul and doo-wop, presumably from a late 50s/early 60s Detroit DJ. We sold one copy and I kept the other, although I had to do much pleading and haggling with Justin to get him to agree to let me have it. The A side is a great love ballad that shows off young Ruffin’s voice very nicely; the B side is an uptempo dancer.
listen to a clip of “I’m In Love”:
The Michigan Elvis Fest is going on at Riverside Park in Depot Town, right down the street from my house in Ypsilanti. A great lineup of tribute artists will perform, including Ann Arbor’s own Chris Solano. Special guest artist is Motown’s Martha Reeves of Martha and the Vandellas, so that is also very cool. (You can find a bunch of her 45s for sale in our store here.)
In honor of this event, I am going to put up a bunch of Elvis 45s for auction, and also I’m going to do a 15 LP lot of various trashed but cool Elvis LPs that we’ve had lying around for a while. ***Update*** Here’s the lot:
If you don’t want to wait 7 days for the auctions to end, we DO have 128 Elvis records for sale already in our store, including the one pictured below.
Oh yes, Elvis Lives!
Check it out. Tons of rare Detroit soul.
Been listing all day long. I need a beer.
Highlights of the Detroit 45s:
Bobby Williams on Lu Pine Clarence Jackson on Valtone
David Ruffin on Anna Don McKenzie on Miracle
Gino Parks on Tamla Herman Griffin on Anna
J.J Barnes on Kable Johnny Mae Matthes on Reel
Little John on Martay Nolan Strong on Fortune
Shades of Blue on Impact The Counts on Westbound
The Downbeats on Tamla The 4 Imperials on Chant
The Magnificent 7 on Thelma The Wonderettes on Ruby
Plus there’s a ton of Motown, and some other ones that are Detroit/Michigan and I don’t even realize it. There’s just too much to post audios on and review - I just had to get them up. It should be a hell of an auction.
Coming up is more soul 45s and after that is rock 45s which we have a ton of including lots more rare Detroit stuff.
As for the audio blogs, Justin and I found another Detroit Tigers song from ‘84 which is totally sweet and also another version of Jesus is a Soul Man which I will post and write about.
I’m going to post a new batch of soul, doo-wop, and funk 45s tomorrow around 5:00 US eastern time.
The highlight is Little John (The Houserocker) on Martay, a so called northern soul “monster.” I’ll post the audio to that and some other Detroit ones, probably on Saturday.
Change of plans…….
Due to another recent collection we just purchased, we are preparing to put up our finest and most rare soul/doo-wop 45 batch ever. It won’t go up until Monday night, probably in two parts: the first batch of around 100 will go up around 5:00 US Eastern time. There’s some good stuff in there, but…..
The next 65-70 that will go up around 7 or 8 will be the most exciting group of northern soul and doo-wop 45s we’ve ever seen. Included are lots of extremely rare Detroit soul. This group will truly live up to our slogan: The Best Records From Detroit and Beyond. A very, very exciting collection. Later that week, we’ll get into rock, rockabilly, psych, pic sleeves, Beatles, Elvis and more. It will be an explosion of 45s. Stay tuned.
The Free Press had a great documentary video posted on it’s website a few weeks ago about Aretha Franklin’s song Respect, on it’s 40th anniversary. I forgot to post it then, but I’m sure some of you haven’t seen it yet. It’s great. It talks about how Aretha put her spin on Otis Redding’s original version. Ann Arbor’s the Rationals also did a version.
The power of the song, song musically and lyrically, is what captured listeners then and still now today, speaking not only on the behalf of women, but also African-Americans.
We’ve got both versions in our store.
The great Stevie Wonder was once Motown’s Little Stevie Wonder, and wowed audiences with his ability to sing and play harmonica and piano. In 1963, he recorded his first big hit, “Fingertips, Part 2″ and subsequent album, “The 12 Year Old Genius”, and began his long journey as one of the greatest singers and performers Motown and Detroit has ever produced. Then, in 1969, Motown produced another child talent when young Michael Jackson burst on the scene with The Jackson Five and their debut #1 hit, “I Want You Back”. We all know how MJ turned out.
But before Little Stevie and Michael, there was Sugar Chile. Yesterday, we bought a collection and found a record on Capitol called “Boogie Woogie” by Sugar Chile Robinson, a Detroit child phenom in the late 40s and early 50s. This, his only LP, was released in 1955 but recorded in 1950 when Sugar (real name Frank) was 10. It’s actually pretty sweet - he plays the boogie woogie blues on the piano and sings with a soulful but high-pitched ten year old voice. This video shows him in person at age seven, as he was already somewhat of an international entertainer and child wonder (although he plays into a sort of Buckwheat-esque stereotype, smiling and performing for applauding older white folks).
The back cover of the LP says that his father was an ice truck driver in Detroit and became aware at age two that Sugar was an amazing musician, “when he picked out the melody of (Erskine Hawkin’s) Tuxedo Junction and played it, in meter, on the family’s aged upright. At church gatherings and community affairs Sugar Chile became a sort of Motor City phenomenom.” He played for president Harry Truman in 1946. It also mentioned that he had a huge record collection of “thousands of well-worn sides,” and kept his portable radio with him on the road so he could keep track of the Detroit Tigers, Lions and Red Wings.
But what became of Sugar Chile Robinson?
All Music Guide had this to add:
His recording career then suddenly came to an end, and it is a shame that nobody was taping the proceedings one night in 1954 when Robinson showed up at the Blue Note in Chicago, sitting in with baritone saxophonist Gerry Mulligan. No one has come forward with an explanation for why this promising young artist split the scene when he did. A theory exists that he went on to assist in operating the Lando record label in Detroit during the 1960s, and a recent rumor states that Sugar Chile Robinson resurfaced in his hometown, just after the turn of the millennium, playing the piano once again like old times.
Deemed by Justin and I as way-too-cool-a-record to sell, it’s in my collection at home. Justin got to keep a mint condition Little Stevie Wonder, “Recorded Live, the 12 Year Old Genius”, and a few others, in return.
-Cousin Geoff
Joe Hunter, the very first musician hired by Berry Gordy to back up some of Motown’s finest singers on piano, passed away at his Detroit apartment Friday at age 79. An article in the Detroit News: http://www.detnews.com/apps/pbcs.dll/article?AID=/20070203/ENT01/702030388
Standing In The Shadows Of Motown is a documentary about the Funk Brothers, the backing band for groups like the Miracles and the Temptations. Often overlooked in their importance in music history, this movie does a great job shedding light on their accomplishments and gives an inside look at the Motown scene in the early to mid 60s. http://www.standingintheshadowsofmotown.com/index.htm
Detroit News review of “Shadows”: http://www.detnews.com/2002/entertainment/0211/14/d01-8908.htm
I’m going to pay a tribute to Mr. Hunter today by digging up all the Motown records that I can that he contributed to and giving them a closer listening to.
Respect and condolences goes out to Joe’s family and friends.
*More pictures of the Joe and other Funk Brothers members from the Detroit News: http://forums.detnews.com/pix/photogalleries/newsgallery/2002_funk/index.htm
Josh found a video on the history of Northern Soul. Check this out.
