Adrian Younge and the Black Dynamite Sound Orchestra

vinyl show & tell vol. 12 - the PACKERS "Go Head On / Hole in the Wall" (1965)

("Go Head On" plays first...)



You better believe shit was really poppin off in 1965. Soul and rock were on an inevitable crash course fueled by a blues-obsessed teenage pop market, giving opportunity to amazing combos from nearly everywhere in the world. Ray Charles was one of the first, but Stax really did it better than anybody at that time by creating a back catalog of r&b/soul that deserves to be in the Smithsonian (and probably is). We all know Booker T. and the MG's were the mighty house band for all those great records but we often don't know how many bands took their style as gospel...Like this affable bunch of West coast musicians.

"Hole in the Wall" shows credit to the B-boys although one name is suspiciously (or erroneously) listed as "Crooper" not "Cropper". The sound is heavier than Stax here, more like a late 60's Joel Dorn Atlantic side or something, doubling piano and organ, Telecaster, congas, handclaps, and some well-placed shouts. Wish it went on longer. "Go Head On" seems to be an original tune that heats up a bit more than the cover. The Hammond organ on this cut just screams out in a special way, the way that provokes women to shout "Ooh Lord!". Drums couldn't sound any better, but those breakdowns should be longer. This type of song never really goes anywhere except the one riff, but honestly, why should it?

Just like the label says, "PURE SOUL MUSIC".


awarded a 7 out of 10 on the "C'mon Now, Let's Go!" scale...

vinyl show & tell vol. 10 - the EMPERORS "Karate" (1966)

Sometimes a small stuffy room is the best way to record loud music. If you only have two/four tracks to capture the performance of a six piece band, they're gonna have to be close to one another anyway. Pack em in, flip the tape, and let em jam...No edits.

"Karate" is among the rowdiest 1960's soul that almost thinks it's funk, defying an origin of Pennslyvania with a New Orleans beat, running it down in a most respectable manner. The drums tumble back & forth on themselves while the bass just keeps thumpin, all of which is made cohesive with some Hammond organ and shout-sing. The same ingredients grace the B side ("I've Got to Have Her") with a slower pace and romantic intentions.

Mala was a short-lived branch of Bell Records whose roster included an assortment of garage rock, northern soul, and pop. After this minor 1966 hit, The Emporers signed to Brunswick to release a small string of singles that never rivaled the success of "Karate". Bell and Mala were eventually absorbed by Columbia in the late sixties and this fantastic little combo was soon forgotten.

8 out of 10 on the "Can't Stop Movin" scale...

Totally rad reissue over @ Dusty Groove dude...

vinyl show & tell vol. 9 - LATIMORE "Let's Straighten It Out" (1974)

With every last beautiful ounce of your understated womanly allure, even in the depths of domestic scorn towards your man, hair gone every which direction, fire in the eyes, could you ladies, really think about this...Could you really be angry at a humble yet smitten (not to mention dapper) Benny Latimore and his slick-ass Fender Rhodes?

Well I should hope not because the dude is soul incarnate, and he's trying his damnedest to sing his way back to the bedroom with this stellar 45rpm single. Unlike most of his contemporary soul singers from the mid-70's, Latimore hits every cliche of the sex-funk genre without getting too mushy (Barry White), too goofy (Ohio Players), or too sleazy (Barry White again). "Let's Straighten It Out" came out in 1974, proving to be the biggest hit Big L would have during his professional career, although he still continues to record respectable r&b to this day. The Glades label was arguably the most influential funk/soul label south of Stax Records in the 1970's, launching many groups & singers from the expansive Miami scene. You could say that Latimore was like the Isaac Hayes of this crowd.

Rhodes electric piano is the main instrument on display here with some Arp String synth in the background of the B-side "Ain't Nobody Gonna Change My Mind". The backing group sounds really simple, maybe just a rhythm section of drums and electric bass. I really love Latimore's simple phrasing and vocal delivery; never seems melodramatic or all over the scale (a weird tendency for a lot of soul singers when they begin improvising). Not as unique as an Al Green but beautiful none the less.

Found abused & discarded at the bottom of a magic grocery bag full of beat up soul 45's...

7 out of 10 on the "Please forgive me baby!" scale...


check out the Funk My Soul blog for some more Latimore goodies...