Drummer ain't had none in a long time....

This goes out to Doug Schulkind at WFMU who for some unknown reason happens to think what I do here, on the blog, is special. I've rarely been so flattered in my life.

While I agree that the dedication is a bit obvious, it's such a good excuse to play the silly thing that I can't resist the temptation.

Actually, while I'm at it, it's been far too long since I thanked everyone who visits, comments, sends emails. Ya'll are such a lovely crew. Thank you. My only regret is that I often don't have time to respond in the manner I'd like. In particular, finding time to answer emails has become a big problem.

Obviously I'm having trouble finding time to post as well. Between taking care of the Monster Child and running a business I'm lucky to get the laundry done much less do something I actually enjoy, alone.

Anyway, I'm still here, plugging along. Hope ya'll stick around too.

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Adolphus Holcomb, aka Little Hooks, and his brother Ray Holcomb [on this record, Ray Nato] worked together for virtually their entire professional lives, starting in the early 50s and lasting into the late 70s. And they recorded quite a few records under various group names along the way.

The odd thing about this record is that the Holcomb brothers were basically through recording by the mid 60's, yet in 1972 they reappeared with this atypical, incredibly charming little record. I have no idea how well it sold, but it must have done something sales-wise because it was picked up for national release on the United Artists label. As far as I know, it was their last 45.

Charming? I'm not sure I've ever said that about a 45 before.....but yeah, it's charming. There's a nice lo-fi homemade quality to it. Less hard funk than a sweet little groover that almost always makes me smile.

Hope it makes ya'll smile too...........

She's the only one for me.....

I often buy cheap beat-up copies of expensive records. And mostly this works out great for me. I'd say 80% of them just need a good cleaning to sound much much better. But that scenario doesn't always play-out as expected, so occasionally I'm stuck with a truly sub-par record. By which I mean one that I'm not happy with at any price.

This is one of those records. The 45 doesn't turn up all that often and when it does, it's pricey. Ya know, I thought I was being smart to buy a cheapie. But I wasn't. Now I just have to find another copy.

Wouldn't be such a big deal except I absolutely love the record. Right?

Awhile back, a friend of mine just about had me convinced that Lonie [also Lonnie] Jones was actually my beloved Diamond Joe recording under a different name. Now, Dan Phillips assures me this isn't true, but ya know, that I would even consider the possibility only goes to show how good the record really is [and how my enthusiasm occasionally gets away from me].

So, for the time being, until I find a better copy, here's the b-side.

Such a lovely thing. One of two records by the artist, one of four on the label. Charles Brimmer deserves major kudos for the production..........

Music from the earth.....

What a drag. Belita Woods is dead.

I met her once several years ago when she and George Clinton were in town doing some recording. A very sweet, very funny lady. Very much full of life.

If you haven't already checked out Derek's post of her three early 45s then you most definitely should. The song, "Grounded" is a particular favorite of mine.

But ya know, as nice as those records are, Ms. Woods will always have a place in my mind as a member of the P-Funk pantheon. She spent something like 14 years working with that most democratic of all Funk Masters.

Over the past ten years, going to see Clinton & Co. has become a kind of personal ritual. And a big part of that ritual has been hearing Ms. Woods lead into "Sentimental Journey"......'cause that's when you know the moment of ritualistic closure is at hand.

On a good night [and there are definitely bad ones] that moment can make ya feel like you've just received holy sacrament at the Church of Funk. As a wise man once said, there ain't NO party like a P-Funk party.

Having seen a couple of clips of the band without Ms. Woods, I can honestly say it isn't the same. But then others have been saying the same thing for years as the old crew died off or moved on. And yet, the latter day incarnation of P-Funk has had meaning to me even as others scoffed. Ya know, I happen to like the older, wiser, possibly even more generous P-Funk.

Here's a cut from the album Ms. Woods and Mr. Clinton were working on when I met her. Belita sings on several of the songs including this one. I doubt the folks of The Big Ol' Nasty Getdown will mind me giving you a listen, but it's a relatively new release, thus I'll only leave it up for a few days. You can get the album via either Amazon or iTunes. It's called, The Big Ol' Nasty Getdown Vol. 1., and has some very cool stuff on it.....not the least of which is some tasty guitar work by the late Gary Shider.

Include Me

I had some trouble coming up with a video clip. Ya see, the cleanest available footage comes from a show at Montreux, but that show is far too 'staged' for my taste and the audience seems about half dead. Which is to say that my personal P-Funk experience has been somewhat rougher.....and a good deal more sweaty.

Thus I've chosen these clips. The first was filmed on a TV set, and is a bit 'staged' as well, but the energy level is def set on high. The second looks to have been shot in a club, but even if it wasn't, it still rings truer to the nature of the beast than the Montreux show. You may want to check your sound level before watching it as the the audio is close to being fried [which is why I like it].