People's Choice - Let Me Do My Thing

While it seems it's open season for HATERS on reissues, let me divulge a retort. And, at the same time also file a grievance against said hatred. For starters, news flash.. EVERYBODY, and I mean everybody wants originals if possible. duh! Even folks that are just starting out in collecting..they want the original release. They might have not yet paid all the dues that lifetime collectors have, but still they want the original article. But, let's look at how quintessential RE-ISSUES are. They have in fact numerous times throughout several genres, and decades of music paved the way for what we know now..and brought to light hoards of quality music to the top. So much music would be lost without reissues.. from 60's dutch garage punk, to countless poor condition and almost impossible rocksteady from Jamaica, it's stunning when you look at the scope of all that is out there BECAUSE of the reissue market. I personally take offense to people downplaying, hating, and dismissing reissues especially now that I myself am behind some of that action with Sound Boutique Records.

The most critical part of reissues (in my eyes) is that it creates a situation where the artist can regain some of the income surrounding the popularity of a record. After all it's THEIR music, and originals trading hands amongst collectors for anything from $25 to $200 still yields absolutely $0 to the artist. That equation does not sit right with me. So, even though royalties are pennies compared to what a true deep collector 7 inch might trade hands for, it's still better than nothing.
Not to mention reissues help folks discover music, and define peoples interests. Like they have done for me time after time.

Here's the situation way back when for me personally. I was a young mod kid, must of been about 14-15 years old. I was trying to find more soul that I liked, and all I had was what I found.. Jr. Walker, Chuck Berry, Mary Wells, and Mose Allison 45's here and there. There was an incredible mostly 45 store, legendary in fact... that was huge for me.. called BAYTOWN records in Albany..but that's another story. A very important story to share, but another time.
We were learning about mod style and mod music, that is... American R&B, blues and Soul as mod kids. I had some vintage stripped 4 button shirts and Hush Puppy shoes and often taking my pants to the tailor to get them pegged.

Cover art on all the volumes looked like original works of art,
all creating incredible scenes of Soul music scenarios.

We were also sorting out and finding the music we wanted to identify with. While I was fresh to the culture of digging, and green to the ways of all the music I would eventually discover... Compilations aka Reissues were key in the development of my tastes. When you look back now, over all the years of collections, compilations, and reissues, the amount of releases back then pales against whats come out since. With all the years gone by, and folks like PPU, Numero, Now and Again, Stones Throw, Ace/Big Beat, Luv N' Haight etc.. its mind blowing. Just an endless sea or cool stuff to explore.
Back during this adolescent time for me it was 4 main groups of comps that shaped things for me.. Bam Caruso lead the way into psych, Funky People lead the way into JB's funk, Charley opened the door to rare groove, and these soul comps SOULIN' were likely the first comps I ever bought. There's also the Ultimate Breaks and Beats, but that is also deserved of an entire other post. So, yeah, maybe 5 comps.. 5 reissue groups.
I took a chance on the first one, the first SOULIN' compilation... based on the incredible cover art, and obscure track listing on the back. Strangely enough I bought all of them at tower records of all places. Once I dropped that needle on the grooves I was sprung, the heavy and rough soul that I really quested for did exist. It was southern soul, it was northern soul, it was instrumentals and funky tracks. It was dance music at it's finest to me. At the time I had an inkling about Kent Soul record comps and the immense amount of Northern Soul on those releases, but this was more dear to me. The stuff on SOULIN' was funkier, grittier, tough, soulful, and so irresistibly danceable.
After hearing this first SOULIN' and instantly being hooked (and enlightened I might add) I rushed back the very next day to get the rest of the volumes they had. I bought all of them, which at the time was the remaining two.. volume 4 was to come a bit later.

Soulin' comps were put out by Moonshine Records
and features a woman takin a taste from a bottle. 

They were all so incredible. I've lived by the depths of what was on here.. brought tapes of all of them to parties and people cut loose and spun about on the dance floor. So. In my experience compilations and reissues are pinnacle in harvesting tastes.. developing the ever growing 'map' of music, and also equally important in developing a scene to surround the love of the music.
So, for folks who shun on 'reissues'... please.. go get a life. Without them, most of us wouldn't know shit. I've said this a million times and its been proven to me a million times over... no one person knows EVERYTHING. Comps and reissues of the past are all the doors that have been opened  by others before you. For those in the hip hop community that claim to know everything, you're only fooling yourself.. Ultimate Breaks and Beats taught you a TON. And, without them you probably wouldn't know HALF the shit you do. And, they also were some of the first reissues AND comps I knew about.  So, don't get it twisted, they too were COMPS.
So, onto sharing this excellent, and very common People's Choice 45.. just ONE of the many varied treats on the SOULIN' series.
Maybe I'll share more of them in the future too.. I'd really like to know who these folks were.. who put them together and how they came about. They must have been 1984 or 1985 when they came out? I'm not sure. Very early tho. Also would like to know more about these amazing covers.. the painted scenes of clubs and bars with musicians pouring out of the windows or patrons hanging around. Just incredible.


People's Choice - Let Me Do My Thing

Howard Tate - Stop

Damn. I can't believe it. Another one of my true soul hero's has gone. I just about cried when I heard the news. I couldn't believe it. I met Howard back some time ago. The timing was strange and I was visiting some family on the East Coast. It just so happened that he was playing a fair or festival near by and even more amazing my Brother, Andy Hess, was playing bass with Tate's band. We chatted about what songs he had to practice for the gig, and thanks to my brother, I was a shoe-in to hang and meet the great Howard Tate. Stoked that even my daughter got to see this massive soul legend.

He was never a legend in the sense that he got his fair shake. His masterpiece of a soul album never got the appropriate push, and Howard, quite possible one the greatest souls singers on the planet, fell into obscurity. Not with true soul heads mind you. Both Soul enthusiasts, musicians, and record nerds alike knew about Tate's music. Then AND now. But, we are in the minority.

In 1967 the Verve label released Howard's "Get It While You Can" album and gave it a luke warm backing. It was a thunderous masterpiece of astonishing soul power. But, Verve dropped the ball. Perhaps the label was busy with other projects.

Nevertheless, without a big push record sales were weak. And, Howard Tate was NOT a household name. Two subsequent albums didn't fair any better and Howard eventually quit the biz.
Trouble tightly traced Howard's life after that including the tragic loss of his daughter to house fire. He suffered an additcion to drugs and was homeless for a stretch. Eventually Howard pulled through on his own, became a minister, and sought to counseling those who were afflicted with the same condition.

It was miraculously the same soul devotees that found out what had happened to Howard that brought him back deservedly into the limelight. A mixture of several soul enthusiasts and radio deejays found out that Howard Tate was alive and well and sought to bring him back. Conversations about the extent of how much he was missed, loved and appreciated for his music convinced him to return to the stage.

He enjoyed close to the entire last decade performing and recording again. Walking out onto stages filled with appreciative crowds and standing ovations. Even his partner in the "Get It..." album, Jerry Ragovoy reunited with him and recorded 'Rediscovered' in 2003. Howard had a good run before his passing this past December 2nd, and was well loved by the soul community. We will forever love you and your music. Rest in Peace.

This song is NOT on the original 'Get It While You Can' album, and was only released as a single. It's a rarer song by Howard and doesn't make good sense to be excluded from the original album. But, included here for you, of course, as the rarer gem that you must hear. Both 'Stop' and 'Shoot 'em All Down' are nothing short of wicked powerhouses. Just as the entire LP is a solid stellar and amazing work of soul genius. Both Howard's incredible talent and Ragovoy's amazing writing contributed to one of the most important and incredible missing pieces of soul music vinyl grails.

Howard Tate signed my copy of this picture sleeve 45 back in 2004

Howard Tate - Stop

The Metros - Since I Found My Baby

It's funny, the first thing that came to mind for me when I posted "Since I Lost My Baby' by The Temptations was this tune. While the Tempts are hugely well known, the opposite can be said for The Metros. Although they were lesser known, the influence of the budding Motown sound is clear. From the sharp arsenal of instruments and the full production, you can tell Motor city had it's affect on The Metros.

This tune from their 1967 RCA LP "Sweetest One" is a marvel of a tune and a smokin' hot soul dancer. I've been wanting to retread or back step into my DJ material from my years as a mod. No tune better exemplifies the sound that I was into at that time. It's an essential northern soul tune. I like to call it secret agent soul. It's slick, smooth, polished and ever so deadly. Reminds me of the crisp 'big boy' sound system at 330 Ritch Street back when Kitty, Kirk Harper and I (and frequent guests) would DJ the soul nite called 'In and Out' once a month. Things like this tune always sounded so incredible on that huge sound system. Although, I was mostly known for playing funkier and more southern type stuff, I had my moments of glazing the soul donuts too. I was just as happy to button the fourth button and break out the talcum power when it came to numbers like this. It was a great period for me, expanding my interests in 60's and 70's club soul, be it funky or northern, pop or underground.

The Metros were Percy Williams, James Buckman, Robert Suttles, and Arthur Mitchell. All incredibly talented vocalists. Produced by Jack Ashford (Hotel Sheet) and Joe Hunter, also known as the Pied Piper production team. This song also features a young guitarist known as Dave Hamilton. Sadly this was their only full length LP, and only book cased it with a few 45 releases. They formed in 1966 and quickly separated late the next year.
Too Bad, The Metros had such great potential. 

That's two 'Since I ____ My Baby' tunes in one week! But, I'll spare you all from my horrific 'blanked my baby' jokes. Just glad that now, what was once lost, is now found. Cheers.

GO METROS!


The Metros - Since I Found My Baby

Danny Williams - Rat Race

I don't think I've heard a more delectable 45. Whispering backing vocals, sneaky horns, smooth wah-wah and general unpredictability make this a prime example of the unique qualities of Bay Area funk and soul. Quite possibly one of the best local 45 I've ever laid ears on, popping and bumping along representing both sloppy and smooth. It's free-ness and tight syncopation make for a magical combination. Listening to it, it's hard to know what to expect, but by the time the whole song comes together, it's over. I know, I know...I've done a lot of genre-fying lately, and yet again, I'm gonna have to hit you with it again. It's a tune that's often labeled 'cross-over' perhaps because 'northern' and 'modern' soul dj's played it out when branching their sets out. It does definitely 'cross-over' into something new, or perhaps some other sound sphere. But, I think it's more aptly defined as 'free soul' or 'indie soul' because it just sounds more...well..free. It's tone and structure steers well out of the way of commercial sound and is independent in nature. Like many others and true to funk 45 form, the flip is an upbeat northern number "All Those Lies". Also, a quality tune and probably more appropriately coined 'cross-over', but not nearly as tasty as "Rat Race".

There's two major traits I'm noticing with Bay Area sound in this particular era, both with this and the previous 'Soft Touch' post.
1. There's incredible tightness, yet the overall vibe is sloppy and free sounding. Almost effortless and relaxed yet obviously complicated. (This seems to be quite prevalent in many Bay Area funk and soul artists.)
2. The mood and approach is all about capturing the purest of 'Superfly' feeling, like the slickest, smoothest pimp music you've ever heard, yet the messages are positive and socially conscious.

It's all contributing to making me extremely proud of this area and its rich musical history. On a side note - Ive been enjoying another local purveyor, collector and DJ - Kid Inquisitive and his fantastic site, check it out here
www.soulpersuasion.blogspot.com
It's well worth your time. Lots and lots of other interesting Bay Area stuff.
I quested for this "Rat Race"45 for a good long time. When I asked, I either got the 'never heard of it', or had to silently watch it disappear for thousands of dollars on ebay. Now, like a good collector and in true blue 'soundboutique' fashion, I'm sharing it with you. Hopefully you won't have to pay as much as I did. I assure you, it IS worth it. But, please don't rub it in if you found it in mint condition for a dollar.


Danny Williams - Rat Race