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The Commands “Hey, It’s Love” (Dynamic, 1966)
(Click title to download)
Please excuse any typos in this post, they’re a result of my unbridled enthusiasm for today’s 45. I have been trying for quite some time to secure a copy of this gem and it came in the mail today after a lucky snag off an unnamed internet auction site and I literally can’t wait to share it with the world.
“Hey, It’s Love” is an absolutely beautiful, literally shockingly smooth track from San Antonio, TX. The Commands were a group of guys who came together from, no surprise from their name, an Air Force base. The arrangements and sensibility do not suggest they spent their time tearing up the pub on the base but instead were more focused on harmony and singing, not something unknown to those parts of Texas with Dan Henderson delivering a monster performance on what is a B-Side performance.
The Commands themselves were actually just a vocal group with all the backing music provided by the Dell-Tones and boy, what backing music it is! Crisp (but mellow) drums, including a gorgeous opening drum break are accompanied by super clean almost harp-like guitar. Truly amazing stuff.
Released on the local Dynamic label, the record was picked up by the nearby powerhouse of Backbeat in Houston for national distribution and exposure even leading to the O’Jays covering the A-Side “No Time For You.” There were a few more records released but none with the popularity of “No Time For You / Hey It’s Love” and fate intervened to take the lead Singer (of the A-Side) Sam Peoples to a station overseas before we were able to see what the group was really able to do.
This is literally one of my favorite records and if you’re listening I’m sure you understand why.
Enjoy the music and be good to each other,
-George / Snack Attack
RIP to Duck Dunn!
The Mar-Keys “Last Night” (Stax/Satellite, 1961)
Eddie Purrell “The Spoiler” (Volt, 1964)
Booker T & The MG’s “Booker-Loo” (Stax, 1966)
(Click titles to download)
I regret that the purpose of today’s post is to mark the passing of one of the greats of the rhythm section in all of music, Donald “Duck” Dunn. My ability to keep up with this modest little blog here is being tested by the falling of musical giants what feels like every week, never mind someone who I admired as much and managed to wear as many hats as Duck Dunn.
Donald “Duck” Dunn for any who don’t know was 1/4 of the heavy weight Stax attack known as Booker T and the M.G’s. His bass playing along with Al Jackson’s drumming is some of my favorite rhythm section work in all of music; the two of them creating some of the heaviest and amazingly minimal grooves you could ever hope for in a band.
His ability to find a deep, simplified and heavy pocket began with his involvement in the early Stax group The Mar-Keys who had a hit in 1961 with “Last Night” that was solid shoulder-wiggling, hard hitting R&B at its best. The record, originally released on the Satellite label (pictured) was a big deal for the Stax brand, giving it an early shot in the arm so big that they realized they couldn’t keep their current label name due to a conflict and were forced to come up with the Stewart/Axton combo meal we all knew to grow and love as Stax.
Dunn left the Mar-Keys in 62 but returned to the Stax fold full-time to join Booker T and the M.G’s in 1964 where he continued to create amazing music both in the style of the punchy r&b of the mar-keys and more complex, Jamerson-style melodic bass lines. One of my favorites is while backing Otis Redding on “I Can’t Turn You Loose” from 1965, it’s a frantic run on the fret board while Otis goes to town. (I previously posted a very early Sly and The Family Stone cover here, check it out in Singles Mixer V. 1)
Though not as prolific of a songwriter as fellow MG’s Booker T and especially Steve Cropper, Dunn also had writing credits of a few songs that weren’t released by the MG’s. Included here today is a record I’m fond of but was by and large ignored when it was released (with the exception being that it was a regional hit in Chicago by an artist from Detroit recorded by a Memphis group and label…). Either way, I dig “The Spoiler” and hope it helps to round of the picture of the multi-talented Duck Dunn.
Strangely, this past Saturday day I was hanging out with my step-father and the Blues Brothers movie was on. I’ve never seen it (despite the incessant hounding of a few good friends) but was psyched to see Duck jamming while Belushi and Aykroyd went nuts. I said “jeez, George, see the dang movie already.” It’s sad to know that’s the only way I’ll get to see the great, immortal Donald “Duck” Dunn perform.
I hope you enjoy the tracks and highly recommend anything the man ever touched and reading Rob Bowman’s great book Soulsville USA: The Story of Stax Records for lots of great anecdotes and stories that show how full of love and joy he was for music and his fellow woman and man.
All the best,
-George / Snack Attack
John Holt “For The Love of You (Part 1)” (Impact, 1975)
(Click title to download)
John Holt is about as big a name as you can get in reggae without being Robert Nesta. As lead singer of the Paragons (and still a pretty young dude) he penned and sang a number of massive hits including Tide is High later covered by Blondie. When Holt struck out on his own he was even more successful both with original compositions and a series of cover songs including today’s 45.
The song “For The Love of You” should be more than familiar with your ear/brain combo as one of the many scorching ballads the Isley Brothers dropped on us in the 70’s and Holt handles it masterfully as he did with all his lover’s rock ballads.
Hope you enjoy today’s record, it’s a favorite.
-George / Snack Attack
Eddie & Ernie “Outcasts” (Eastern, 1965)
(Click title to download)
I’m glad to be back and more or less recovered from my brief trip overseas and the bummin cold/cough I got while traveling and ready to lay another 45 on you all!
I figured with all the absolutely bummin news coming out of Arizona these days it would only be right to try and shine some positive light on one of our Southwestern states.
Eddie and Ernie were a great (and as is often the case) overlooked duo from Phoenix, Arizona whose recorded output lands mostly in the mid-60s. They recorded for a number of labels (Columbia, Chess and Revue) but today’s record was released on the (adopted) hometown Eastern label.
This little slab of wax is kind of a heavy record. You know, not in a Sabbath type of way heavy but instead, it’s the meditative, slightly noodley and somber guitar that opens the track that kind of weighs on you. And while the beat is up-tempo and the horns feel like they’re reaching upwards, it all comes together to just ooooooooze melancholy. Of course you have Eddie (Campell) and Ernie (Johnson) delivering an exquisite vocal performance that assures you feel their pain when they cry “I don’t know how long I’m gonna last.” The song breaks after the first chorus and lets you feel that awesomely sad and clean guitar break (with a touch of organ buried under there) again this time knowing full well you’re into so deep territory.
An all around great track that stays on repeat in my room (even in my happy moments!) was surely helped out by the production of the great Juggy Murray (who I swore I had featured in one of my longer mixes, but apparently not!) of Sue Records.
I hope your month is winding down peacefully, happily and healthily and you enjoy today’s track as much as I do!
-George / Snack Attack.
Luvenia Lewis “Let Me Be The One” (Suave, 1964)
(Click title to download)
Hey everyone, dropping a pre-prepared post on you while I’m here in The Netherlands.
Hailing from Houston, TX, Luvenia had an unfortunately brief recording career, only putting out a handful of singles in the 60’s (and one in the early 70s) both under her given name and Lovely Lewis. The latter on the Duke label and the name change was done at the insistence of label head Don Robey.
Today’s record is a perfect in the pocket R&B shaker, starts with the pumping organ and drums that sound like 100 other songs from this time, but when Luvenia’s voice comes in the song really picks up. Add in the wimpering horns and the super clean guitar solo and we have lots more to listen to and they work with Lewis’ voice beautifully to give her simultaneously more grit and refinement.
Though her recorded output was (unfortunately) limited she was an active and influential musician in the Houston scene during this period, performing regularly as a singer in the local clubs and groups including singing for her husband Cal Green (who later became the lead guitarist for Hank Ballard and was the brother of session musician and Rhythmaires band leader Clarence Green.)
Here’s a great video about T-Bone Walker from the mid 80’s that has a very brief clip of Luvenia in it if you’re interested in seeing her sitting down, not performing. It’s worth 15 minutes of your time even if you’re not, facebook isn’t going any where…
Hope you enjoy!
-George / Snack Attack
