Funky Virginia

"7 City Legacy" Documentary Premiers Saturday October 8th in Norfolk.

2011-10-04T18:40:00.008-04:00

SoundLOY Productions will be premiering the documentary film "7 City Legacy" this Saturday at the historic Attucks Theatre in Norfolk. The film is a survey of the rich R&B legacy of Virginia's Tidewater region. The premier is open to the public and free to all with a pre-film reception at 7PM and a mixer after the documentary. More information is available here. Hope to see you there!

Degree Of Freedom "Please Tell Me Why / Vegetable Soup" (DCI)

2011-05-10T11:49:00.025-04:00

As best we can figure, scientists and mathematicians use "degrees of freedom" to assign value to variables in chemistry, physics and statistics. We continue to be stumped when it comes to finding answers about the group who recorded under this name at Richmond's Alpha Audio in 1976. On their solitary release, Degree Of Freedom diligently work two sides of an equation: one an epic sweet soul ballad with exquisitely woven harmonies, the other, a remarkably nimble instrumental funk workout. Two seemingly incongruent sides with a common denominator: precision. It all makes sense. What doesn't add up is how little is known about the talent responsible for this outstanding double-sider. Can anyone out there help us solve the puzzle?

Degree Of Freedom "Please Tell Me Why"
Degree Of Freedom "Vegetable Soup"

Ray T. Jones on PBS this Thursday!

2011-04-25T09:55:00.015-04:00

We just received word from filmmaker
Shanika Smiley that her recent piece on our friend Ray T. Jones will be featured on the April 28th edition of
Virginia Currents. The episode will debut on Richmond's PBS affiliate WCVE this Thursday at 8 PM. If you can't catch the local broadcast or want to watch it again, archived video should soon be available at the Community Idea Stations official website.

A truly fascinating story. Congratulations, Ray!

Lenis Is Back!!!

2011-01-02T12:32:00.018-05:00

Virginia Soul legend Lenis Guess makes his triumphant return to
Dig Deeper January 22nd at Southpaw in Brooklyn NY. Those who saw Lenis back in June 2009 (his first NYC show in over 20 years) can attest to how amazing he was. This month's Dig Deeper promises to be just as awesome. Come see a true master at work!

Funky Virginia will once again be represented by the Scorpio Brothers, spinning classic Soul 45's Commonwealth style, along with Dig Deeper residents DJ Honky & Mr. Robinson. A good time is sure to be had by all. Don't miss it!

Buy your tickets here!

Stone Love and Symbolics Split 45 OUT NOW on PLUT!

2010-12-09T21:21:00.015-05:00

Our friends over at Plut records have out done themselves this time. On this two sided monster, not only do you get the the previously unreleased "A Taste Of Your Love" by the Symbolics (with backing from Shake), but also the impossibly rare "Stone Spanada" by Stone Love (originally released on the Lofton label). Both tracks were recorded in the 70's at Brockington & Guess Studio on 35th Street in Norfolk. The first few orders get the limited red vinyl versions!

Listen to some sound samples below!

Shipping for the 45 is $3.00 US and $6.00 world

Ray T. Jones "That Norfolk Sound" (Wee-Too!)

2010-10-23T12:05:00.029-04:00

By the mid 60's, as the U.S. dramatically ramped up its involvement in the Vietnam Conflict, Philadelphia native U.S. Navy Seaman E3 Raymond Thomas Jones, was assigned to duty in Norfolk, VA. In February of 1967, Jones's ship, the USS Barney, was deployed to the combat zone off the coast of Vietnam. The ship would return to Norfolk seven months later.

Like many black sailors stationed in Hampton Roads, Ray found himself drawn to Church Street, the nucleus of African American nightlife in a still heavily segregated Southern city. He spent much of his precious off-duty time taking in live shows at legendary spots like The Eureka Lodge, The Enterprise, and The Plaza Hotel. This vibrant scene had a lasting impact on him.

Ray was just starting a family when he came to Norfolk. In a lot of ways the new life he and his wife Vennel had embarked upon seemed a world away from the North Philly neighborhood where they both grew up. With Ray at sea for as long as nine months at a time, and not much of a support system in place for navy families at the time, the young marriage was under strain. One day Ray came home to an empty apartment to find that Vennel had left him, taking their son Ray Jr. with her. As the split stretched on, Ray was moved to write about the situation, forming what would become the lyrics to his first song. "Cause You're Coming Home" tells the story of heartbreak and separation, but also hope, reconciliation and his wife's eventual return. While back home in Philadelphia visiting family, Ray showed the song to his brother Paul, himself an established bassist who had recorded and toured extensively with Freda Payne, Bo Diddley, Garnet Mimms, Jean Wells, The Coasters and The Platters among others. Paul helped Ray with the arrangement, got some musicians together, and booked time at the legendary Virtue Recording Studio on Broad Street. The resulting 1969 recording captures a young Ray Jones delivering a touchingly personal ballad. The tape would remain safely tucked away and unreleased for the next six years.

Ray T. Jones "Cause You're Coming Home"

Jones's military duty continued throughout the seventies. While serving as First Class Fire Control Technician on the Destroyer USS C.V. Ricketts, he facilitated classes and seminars for fellow personnel regarding race relations. In addition, Ray started singing in the ship's band. The racially integrated group performed at a number of USO functions throughout Europe with a repertoire that ran the gamut from R&B to Rock to Country & Western and everything in between. Ray was becoming a fan of all these types of music, and was incorporating different elements of them into his own emerging style. He was particularly enamored with the story telling nature of Country music. An idea started to form. Why not take his favorite parts of the Country sound and combine them with his Soul roots? The band began working with the "Country Soul" concept.

Back on Church Street, at the corner of East Brambleton, Queen's Lounge was probably the hottest club in town. Norfolk heavyweights The House Rockers were packing them in as the resident band upstairs at Queen's Top Side. In addition to the nightly House Rockers gigs, amateur nights were put on by the club. Adventurous souls would give it their best shot fronting the band and braving the usually merciless audience. After being back in town for a while on shore duty, Ray Jones decided to take the stage, no doubt bolstered by his Navy buddies. He put his USO experience to work, and won the crowd over. It probably didn't hurt that he had packed the place with his fellow servicemen ahead of time.

It took a few more strong showings from Ray to convince the club owner to grant him his own 30 minute slot for a set of popular R&B covers backed by the House Rockers. In order to capitalize on the opportunity, Ray sought out his neighbor, former House Rockers front man Sebastian Williams. He paid Williams $50 out of his own pocket to make a guest appearance during his set. Ray started promoting the show and creating a buzz. Sure enough, on the night of the gig Sebastian showed up at Queen's dressed to the nines. "Ladies and Gentlemen... Sebastian Williams!!!", Ray announced as his special guest stepped up to the microphone. The band launched into a smoking version of Wilson Pickett's "634-5789", and Sebastian proceeded to blow the roof off the place. When he was done with his one song, Seb mater-of-factly turned and exited into the Church Street night. Probably the best $50 Ray ever spent!

Word got around, not only about Sebastian's exploits, but the up and coming Ray T. Jones. Noah Biggs of Shiptown Records took Ray under his wing, acting as a mentor and manager. As much as his naval duties would allow, Ray began doing shows around the region at venues including the Moton Theatre in Newport News, supporting the likes of Barbara Stant and General Johnson.
With guidance and encouragement from Mr. Biggs and even a little coaching from the legendary Frank Guida, Jones decided to start his own label. In 1975, Ray used his connection with bassist Maurice Glass to enlist the mighty 35th Street Gang (AKA: Raw Soul) to back him on a recording date at Lenis Guess Studio. The first single from the self-produced session, "That Norfolk Sound" was paired with his earlier recording of "Cause You're Coming Home" and released on the newly launched Wee-Too. Ray decided to use his family's Philadelphia address on the label.

Ray T. Jones "That Norfolk Sound"

"That Norfolk Sound" is a gritty ode to the sometimes seedy, always exciting Church Street scene. Jones deftly fuses his diverse influences into a unique mixture of sustained psychedelic fuzz and folky acoustic guitar anchored by a stripped down funk rhythm section. Ray's delicate, almost mournful vocal takes us on a tour through a darker side of the seaport city, down Granby Street and even to a rowdy Country/Western bar to see "fists flying in the night". "Come on down to Norfolk and get some ghetto in your life".

"Are We Ready? Are We Together?" The follow up single came in '76. "Beat The Knees" is probably the record Ray Jones is best known for. It was born out of a vamp that Ray and the 35th Street Gang came up with on the spot in the studio. The hard hitting drums of Grover "Groove" Everett and Maurice Glass's beefy bass line lay the foundation for this deadly groove. Irresistible Fender Rhodes keyboard adds a whole other dimension of hip. The guy named Leroy that Ray raps about was actually a shipmate who was quite the ladies' man. You can use your imagination as to what "beating those knees" signifies. Turns out, last Ray heard, "do-it-do-it man" Leroy had become a man of the church, a preacher. These days he's hitting his knees to pray.

Ray T. Jones "Beat The Knees"

The flipside, "Take Me Back To Norfolk Town", with it's twangy slide guitar and tale of longing, sees Ray's vision of Country Soul fully realized. The song is simultaneously a love letter to his woman and the city he calls home. Out at sea, the sailor "left a lot of love, a lot heartache in Norfolk town". Not only does he miss his family, he craves "the smell and the taste of Virginia ham / the taste, the flavor of fresh steamed clams!" "There's no place like that Norfolk town."

Ray T. Jones "Take Me Back To Norfolk Town"

With two records under his belt, Jones approached Norfolk's WAVY with a proposal for a half hour TV special showcasing his Country Soul music. In December of '76 the project was green-lighted. That winter an outdoor show was filmed on a makeshift stage in a lot right next to the old Bishop Grace House of Prayer (AKA: Sweet Daddy G's) at the corner of Princess Anne and Church Street. The show, entitled "That Norfolk Sound", featured live footage of Ray Jones along with Navy bandmates Jerry Potter, Ron Morin (guitar), Mike Terlouw(Keyboards), Robin White (bass), Art Swimp (drums) and Dennis Eaves. The finished program also included interview footage and aired locally on Channel 10 in the Summer of 1977.

Ray had plans to follow this up with a full length LP entitled (what else) "That Norfolk Sound". He shopped the idea around and even struck an informal distribution agreement with Frank Guida, but a deployment to the Mediterranean put the project on hold. In the ensuing years, Ray's military service and growing family took priority over an entertainment career, although he never really fully gave up on his music. In fact, in the later part of the eighties Ray made a little bit of a comeback, re-releasing "Take Me Back to Norfolk Town" b/w "Cause You're Coming Home" on a Wee-Too 45.

After hitting the Cash 5 Lotto for $100,000 in 1995, Ray bought a house in Virginia Beach where he currently lives with his wife of 25 years Judy. A proud father of seven and grandfather of 14, Ray is retired from the U.S. Navy after 30 years of service, having risen to the rank of Master Chief.

Right now Ray is preparing to re-release his classic Wee-Too 45's. Also in the works is an album (on vinyl!), "I'm Going Back To Norfolk", which will contain unreleased tracks, including ones he cut with his Navy bandmates back in the 70's. Ray continues to write and record songs as Ray "2 Beers" Jones (a nickname he got in the Navy). These days his sound draws a lot more from the Country side of the Country Soul equation. You can get a sampling of what he's been up to on his myspace page. Ray also plans to eventually release a collection of his recent Country flavored material.

We would like to thank Mr. Jones for his enthusiasm, generosity and all the great stories (way too many to fit into this piece!), as well as the amazing photos and, of course, the music. Stay tuned for news on Ray's upcoming releases. We'll have them for you here at Funky Virginia as soon as they drop.

Walking Down Church Street & Outside of The Norfolk Scope

Review of "That Norfolk Sound" from Soundings Magazine

Article from Surface Magazine

Sponsorship Letter for TV Special

Approval Letter from WAVY TV

Letter to Frank Guida

Promotional Letter for Album

Promotional Letter for Third Wee-Too Single

Set List for late 70's Show at T-Bird Lounge on Church Street (Near Lenis Guess Studio on 35th St)

Late 70's Show Flyer

R.I.P. General Johnson

2010-10-17T18:29:00.018-04:00

This week saw the passing of a Soul icon and one of Virginia's most important recording artists. Norfolk, VA native General Norman Johnson made his first recordings for Atlantic Records at the age of 12 with Doo Wop group The Humdingers. Those songs were never released, but soon manager Noah Biggs got the group signed to Minit Records in New Orleans, and the name was changed to The Showmen. Their first single in 1961, "It Will Stand", was a hit and became a Rock 'N Roll anthem. In 1968, after a string of chart success with The Showmen, Johnson headed to Detroit to work for the Invictus label, forming The Chairmen Of The Board and joining forces with the legendary writing/production team of Holland-Dozier-Holland. The Chairmen's debut single in 1970 was an international smash reaching #3 on the Billboard Charts. "Give Me Just A Little More Time" continues to be a radio staple to this day, and The General will always be remembered as its instantly recognizable voice. What few realize is that Mr. Johnson was a prolific song writer whose credits include Freda Payne's "Bring The Boys Home" and Honey Cone's "Want Ads" and "Stick Up", as well as a Grammy Award for writing Clarence Carter's "Patches". He continued to work tirelessly writing, recording, producing and performing for the many decades to follow.

For information on memorial services and how to pay respects, as well as General Johnson in his own words, please visit the official Chairmen Of The Board website. A man whose talent touched millions. General Johnson will be truly missed.

A Tribute To Sir Guy

2010-10-08T10:19:00.043-04:00

This summer we were were greatly saddened to learn of the death of a true giant in Virginia Soul music. Clarence "Sir Guy" Barron, passed away June 15, 2010 at his home in Aiken, South Carolina.

Mr. Barron got his start just outside of Norfolk in neighboring Berkley, Va with a group called The Visions. Clarence, better known as Guy, stood out not only because of his amazing voice and dynamic stage moves, but the striking figure cut by his tall, lanky frame and perfectly processed hair. In 1967 Sir Guy went out on his own and made a splash with his first record, "The Frog" b/w "Broke Down And Cried", on Frank Guida's S.P.Q.R. label. A strong regional hit, both sides were redone as "The Frisky Frog" and "I Cried" for George Perkins' D.P.G. imprint. The years that followed brought some genuine masterpieces from "My Sweet Baby" to "Let Home Cross Your Mind" to "I Need You Baby" and, of course, the one Sir Guy remains best known for, "Funky Virginia". An undisputed anthem around these parts, it's been suggested by more than a few that if there were any justice "Funky Virginia" would be the Old Dominion's official song. One thing's for sure, this record still packs dance floors not only here, but around the world, some forty plus years after its release. Surely one of the Commonwealth's finest exports.

Sir Guy will continue to live on in the hearts of friends and loved ones, the memories of those fortunate enough to have seen one of his legendary performances, and, of course, the wonderful, yet all too brief, recorded legacy he left us all. The impact these records have had on us here at "Funky Virginia" is obviously immeasurable. We just hope to do right by the name.

Sir Guy & The Rocking Cavaliers "Funky Virginia"

Sir Guy "I Cried"

Special thanks to our friend Kevin Coombe of D.C. Soul Recordings for the great picture of Sir Guy. Also a big thank you to Ol' Virginia Soul's Brent Hosier for his help with this story and many others.

Barbara Stant @ Dig Deeper June 26th!

2010-06-09T21:20:00.009-04:00

It's been some four and a half decades since Barbara Stant's last New York performance. Back then, Barbara was just starting out as part of a teen girl group making the trek to the Big Apple from Norfolk. After a career that includes sharing the stage with the likes of Al Green, Barbara Mason, Joe Simon and the Isley Brothers, June 26th's
Dig Deeper marks the long overdue return of a Soul legend. Ms. Stant will be delivering her classic Shiptown sides including "My Mind Holds On To Yesterday", "Shadow In Your Footsteps" and "I'm Going To Outfit You Baby" with support from the fantastic Solid Set (who did an incredible job behind Lenis Guess a year ago). Needless to say, this will be a very special night. Don't miss this opportunity to witness a rare appearance by one of the absolute greatest singers to ever come out of Virginia!

Flair And The Flat Foots "Hey Boy - Hey Girl" (S.P.Q.R.) / Virginia's Employment Commision "John Fuzz" (New Faces '69)

2010-04-23T16:15:00.052-04:00

In any survey of Virginia music it's damn near impossible not to keep coming back to the legacy of Frank Guida. Legrand may have been the most recognizable imprint in Guida's empire due in large part to chart topper Gary U.S. Bonds, but S.P.Q.R. was arguably Frank's most consistent label, with a catalog boasting the bulk Jimmy Soul's output as well as some of Lenis Guess's most successful outings, not to mention the lone single by Garage Punk legends The Swinging Machine, and Barbara Redd's left field Northern Soul classic "I'll Be All Alone".

But as is the case with the Guida discography by and large, there are quite a few lost treasures buried deep, waiting to be unearthed (See: Jimmy "Hot Lungs" Moore). S.P.Q.R 1007 is a particularly interesting number. The A-Side is credited to Floyd & The Flat Foots , the flip to Flair & The Flat Foots. Let's start with the Flair side. Despite its 1967 release, "Hey Boy - Hey Girl" has an early Soul sound that could be at least of '65 or even '64 vintage. Remarkably straight forward in it's approach, "Hey Boy" has that "live-in-the-studio" feel that makes Guida's records so exciting. Nothing too fancy here, just a tight band moving along at a nice clip, sounding like they hit the studio after a late night gig and nailed it in the first take. In this stripped down arrangement, the piano pounds out the rhythm, the guitar keeps pace, stepping out for a nice and concise no frills solo, and the drums...the drums are the basis for all the great Frank Guida productions. They're characteristically huge, with plenty of bottom. The drummer thunders through some crazy rolls that only pick up in intensity as the song progresses.

The lyrics aren't anything ground breaking, just direct and heartfelt. It's the way they're delivered that catches your ear. "Flair" is definitely belting it out, maybe not silky smooth, but raw, honest, immediate and going for it. The back up singers are great too with their "Hey, hey, hey, girl! / Is it Love?" response. A winner from start to finish, this record's got charm to spare.

If "Hey Boy - Hey Girl" is a bit of a throw back for 1967, the "plug" side of this single is down right anachronistic. Floyd & The Flat Foots' "John Fuzz" is rockin' R'n'B that could be straight outta the early 60's. Opening with the theme from "Dragnet", "John Fuzz" lays out the misadventures of a sad sack cop who gets hit in the head with a mustard jar while trying to break up a domestic dispute, slips on a banana peel while walking his beat, and ends up in the hospital with a busted jaw after trying to recover a stolen car. Then in the final verse there's a slight change of heart as the cop's tormentors sort of take pity on the poor underpaid officer, a nice enough guy who never complains, even when he saved that kid stuck in a pipe. "He's alright!", they declare. Gee, thanks!

"John Fuzz" is more in line with the "novelty" tag applied to many of Guida's records. Apparently, Frank must have believed in this odd ball ditty on some level, because he waited another two years to re-release it (not an uncharacteristic move) as the debut of his New Faces '69 label. This time around "Fuzz" was preposterously credited to The Virginia's Employment Commission with the parenthetical tag "Hire Through". Is there any way the actual state agency known as the Virginia Employment Commission signed off on this? Seems unfathomable, but Mr. Guida could be very persuasive, and it was the late 60's.

The flipside of "John Fuzz", "Don't Go To Strangers" appears to be a left over track from the original Flat Foot sessions with Flair taking over lead vocal duties again, this time joined by a small horn section. Though not as fully realized as "Fuzz" and "Hey Boy - Hey Girl", "Strangers" is still a pretty solid ballad. It's not hard to imagine it being a show stopper in a live set. You can almost envision a female version of James Brown falling to her knees, pleading a la "Please, Please, Please" as a the Flat Foots' answer to Danny Ray comes out to drape a cape over her shoulders.

Flair & The Flat Foots "Hey Boy - Hey Girl"
Floyd & The Flat Foots / Virginia's Employment Commission "John Fuzz"
Virginia's Employment Commission "Don't Go To Strangers"

Willie Brown "I Think I'll Fall In Love" (Tri-Som) "Love That Stranger" (Tri-It)

2010-03-27T15:39:00.059-04:00

The first half of the 1970's saw Norfolk record mogul Leroy Little on a bit of a roll. Having just inked a national deal with King Records for his Tri-Us label and it's most successful artist Little Royal, Mr. Little continued to deliver a steady stream of singles on a local level with his Tri-It and Tri-Som imprints. These sister labels lacked the wide spread distribution of Tri-Us, which is a shame because there were a number of outstanding releases between the two that deserved more attention than they received initially.

One interesting example of a Tri-It single that refused to go away quietly is Sebastian's "Living In Depression". It's essentially Little Royal & The Swingmasters' finely honed (and previously released) funk instrumental "Razor Blade" plus overdubbed vocals courtesy of the legendary Sebastian Williams (and Leroy's son Keith at the controls in the studio). "Depression" was released on three different labels in 1975, Tri-It and Pesante out of Norfolk, as well as New York's Brown Dog. Despite these efforts it never achieved the success of the original instrumental version, which held the coveted flipside of Little Royal's biggest commercial success "Jealous".

This brings us to another Swingmasters 45, "Boogie on Down", released a year earlier in 1974 on Guess Records. In this case it would appear that it was the Swingmasters record that added overdubs to a pre-existing track. "I Think I'll Fall In Love" by Willie Brown on Tri-Som, is a killer funky soul tune utilizing the exact same backing track as "Boogie On Down". For all intents and purposes the instrumental B-Side of "I Think I'll Fall In Love" is "Boogie On Down" minus the boisterous band banter and some tastefully placed piano.
In contrast to "Living In Depression", Willie Brown's "I Think I'll Fall in Love" has a more natural flow, no doubt helped by the song's more manageable pace. Despite Sebastain's valiant effort, his vocals on "Depression" almost have the quality of being in competition with the backing track, seeming somewhat rushed in spots, and every now and then even drowned out by the music. "I Think I'll Fall In Love" feels more like a song intended to have lyrics. Interestingly, the Willie Brown record makes no mention of The Swingmasters, not even on the instrumental flip. While "Boogie On Down" credits Leroy Little as the sole songwriter with no mention of Garfield Williams and Leroy Tuna, the team credited with writing "I Think I'll Fall In Love". Was Leroy Tuna a pseudonym for Leroy Little? Yet another interesting mystery to be solved.

Willie Brown cut one more single for Leroy Little, this time on Tri-It. Recorded at Brockington & Guess Studio in Norfolk with backing from the mighty Raw Soul, the top side, "Get Out And Get It", is no doubt as solidly funky as you'd expect, but it's the atmospheric B-Side that's most striking.

"Love That Stranger" does indeed sound like it's from some far off place, perhaps not even of this world. At the center of this unusual arrangement is a cavernous organ sound embellished with shimmering vibraphone effects. Intricate yet soulful jazz guitar drifts in and out as subtly funky drums serve as the anchor. Brown echoes himself on double tracked vocals, including a fragile falsetto that levitates above it all, as he pleads for forgiveness after being away from home too long.

Despite there being no backing band credited on "Love That Stranger", it's a pretty safe bet that Reno Renaldie's cleverly named outfit The Reno Expedition holds that honor. In fact, the Expedition's only single, the instrumental "Ain't Nothing But A Party" (also on Tri-it) almost sounds like a pitched-up run through of "Stranger". Well, at least the organ and drums do, conjuring images of some frenzied shindig at the local roller rink.

Willie Brown "I Think I'll Fall In Love"
Willie Brown "Love That Stranger"
The Reno Expedition "Ain't Nothing But A Party"

***Please check out the Ol' Virginia Soul: Encore! CD for "Living In Depression" as well as Brent Hosier's touching tribute to the late, great Sebastian "Plut" Williams, a true gentleman and a giant of Virginia Soul, loved and missed by many.

Lil Walter and The Average Black & White Band "Funk Train" (Column B)

2010-02-16T08:24:00.011-05:00

In 1959, a fifteen year old Walter Williams cut a pair of duets with his sister Lola for Richmond's legendary Nu Kat label. The record, "No Mercy" b/w "Broken Heart", was Walter's first as a featured artist, but he had already made a name for himself as leader of Lil Walter's Band, the backing combo credited on most of Nu Kat's early releases.
Five years later, The Walter Williams Show unleashed the super raw two-sider "Hootenanny Stomp" b/w "The Cat" for Turn-Tage, one of a handful of small labels under the auspices of Joe Turnage's Church Hill Records, Richmond's primary black owned record store.
"Lil" Walter Williams remained a fixture on the city's ultra competitive Soul scene, becoming one of its most highly regarded band leaders. His band worked extensively with the superb vocal group The Bonnevilles, to the point where they were commonly billed as Lil Walter & The Bonnevilles. The Bonnevilles would go on to record for Now Records in D.C. (sans Lil Walter) backed by fellow Richmonders Zeke & The Soul Setters.
It would be some ten years until Lil Walter's third single saw the light of day. Recorded in 1975 at Alpha Audio, "Funk Train" dramatically illustrates how much things had changed since Walter got his start way back in the 50's. It also shows the development of an artist who was able to adapt and stay very relevant. Despite being a sage veteran at this point, it's easy to lose sight of the fact that Walter was still a young man in his early 30's.
The cleverly dubbed "Average Black & White Band" was indeed an integrated outfit but we would argue that these guys were a least a cut above average. "Funk Train" chugs along propelled by some super tight drums (especially the cymbal work!) and Lil Walter's own thunderous bass line. The horn section locks in and keeps everything on point, but it's a white keyboard whiz known simply as "Sweat" who steals the show.
The flip "Everyday Life" offers a nice change of pace with a classy deep ballad. We again refer you to Sir Shambling's wonderful Deep Soul Heaven for a listen.
In an unusual development, "Funk Train" was later renamed "Do The Rope 'Pee' Dope" and white stickers displaying the new title were placed on the labels of remaining copies of the record. One can only assume the change paid homage to Heavyweight Champ Muhammad Ali, who famously employed the "rope-a-dope" strategy in legendary bouts against George Foreman and Joe Frazier in the mid 70's. Whether this move translated into more record sales is anyone's guess.
Special thanks to Brent Hosier for his invaluable information on Lil Walter Williams. Without him this entry wouldn't have been possible. Please check out Brent's outstanding Ol' Virginia Soul Part 1 CD for more information on Mr. Joe Turnage, Turn-Tage Records and much, much more!

Lil Walter and The Average Black & White Band "Funk Train"

The Dynamic Deadbeats Band "Movin' Out / Hearsin' Around" (Greenedeem)

2010-01-06T22:41:00.022-05:00

Rising from the ashes of the L'Sabres, a new band clad in black, faces covered in white corpse paint, made their mark on Richmond's burgeoning rock scene in the mid 60's. The Deadbeats stayed true to their garage roots, but took things in a decidedly more soulful direction. In '66 the lads hit the notoriously low-fi Richmond Sound Stages at 2314 W. Cary Street to bang out their first record, self-released on the Greenedeem label. The top side, "Movin' Out", is a fairly typical blue-eyed take on the Stax/Volt sound of the day, owing more than a passing nod to Wilson Pickett's "In The Midnight Hour". The flip, "Hearsin' Around" is a sleazy instrumental just right for midnight creepin', named for the morbid ride The Deadbeats drove to gigs.
The ensuing year and a half after this first release saw the band (many of whose members were still in high school) continue to mature, ditching the stage make up and honing its sound. The Deadbeats cut two more singles, both of which had the same pairing: "No Second Chance" b/w "Why Did You". The first recording of these songs was another characteristically muddy Richmond Sound Stages production with an extremely small press run (possibly 100). Think of it as a rough draft for what was about to come.
In mid '67 the band traveled up to Philadelphia to re-cut both tracks in an real recording studio. The result, released on the Strata label, is a perfectly realized two sided Garage-Soul stomper. Unfortunately, that didn't stop the record from quickly sinking into obscurity during "The Summer of Love".
These days the Strata issue of "No Second Chance" is by far The Deadbeats' most sought after 45, demanding big bucks amongst record aficionados and packing dance floors at Soul nights the world over. Both sides can be found on the awesome Ol' Virginia Soul Part 2 CD, along with plenty more information about one of Richmond's legendary bands.

The Dynamic Deadbeats Band "Movin' Out"
The Dynamic Deadbeats Band "Hearsin' Around"

The Soul Duo "Just A Sad Xmas" Shiptown

2009-12-14T09:18:00.022-05:00

Comprised of Little Ida (Ida Sands) and Little Daddy (Joe Webster from The Anglos), The Soul Duo recorded two classic 45's for Noah Biggs' Shiptown label. Their first single, "This Is Your Day" piqued enough interest in 1969 to be picked up for national release on the Jamie label out of Philly, but down in the Old Dominion, The Soul Duo are most fondly remembered for their follow up effort. "Just A Sad Xmas" was a sizable hit in the Tidewater region, and for good reason. Ida and Joe turn in some amazingly deep vocals on this hard hitting ballad with perfectly sympathetic backing from The Sounds Band (love that bluesy organ!). Definitely not your run-of-the-mill seasonal fluff, we think "Sad Xmas" deserves to be included amongst the classic soulful Holiday songs.
Here's hoping the season finds you happy and well. Thanks for your support over the past year. See you in 2010! Happy Holidays from Funky Virginia!

Soul Duo "Just A Sad Xmas"

Unreleased Barbara Stant & Raw Soul 45 Available Now!

2009-11-05T13:59:00.032-05:00

Our dear friend Brent Hosier, the guy behind the outstanding "Ol' Viginia Soul" series and head honcho of Plut Records has done it again! Hot off the presses comes a previously unreleased gem from the First Lady of Virginia Soul, Norfolk's own Barbara Stant! More powerful than a locomotive, "Superman" is heroic Sister Funk from 1972 written and produced by Lenis Guess. MS. Stant is at the top of her game on this one, with super-human backing from Raw Soul, who also contribute the aptly titled flip, "Just Walk Funky". How these two tracks remained in the vaults for some 37 years is beyond us, but now's your chance to get them both on one killer 45!
Another high quality release mastered from the original reels, for optimal sonic impact. As always, quantities are limited, so grab 'em while you can, and support a great Virginia label! And remember "It ain't a boot...if it's on Plut!"

$5.00 each (Shipping $3 in the US and $6 for the rest of the world). Listen to the sound samples below!
Raw Soul featuring Barbara Stant "Superman"
Raw Soul "Just Walk Funky"

Wilson Willams "(I Can't Get Over) Losing You" Tri-Us

2009-09-27T22:53:00.031-04:00

As is the case with most of his Southern Soul brethren, the influence of the church is undeniable in the early work of Wilson Williams. The most sought-after of his two releases for Noah Biggs' How Big label, "I Got A Whole Lot To Be Thankful For" is a devastating Deep Soul ballad so true to these gospel roots it sounds as though he just got off the pulpit and walked straight into the recording studio.

Continuing in this distinctly Southern vein, the Lenis Guess produced "Losing You" was released on the Tri-Us label. Best known for successful outings by Washington D.C. native Little Royal (Torrance) & The Swingmasters, Tri-Us was the flagship of Leroy Little's family of labels which included Tri-It and Tri-Som. In addition to owning the Waxy Maxy record shop on 35th Street in Norfolk, Little was well established in the music business, having done extensive promotions work for larger labels like Atlantic. He utilized his many connections within the industry to secure wide distribution deals, explaining why Nashville and Houston addresses can be found on many of his labels. In fact, most of the Little Royal releases, including his lone album "Jealous", were distributed through the King/Starday empire.

On this, one of the harder to find singles on Tri-Us, Wilson Williams turns in a powerful performance, beautifully complimented by a small chorus of ascending female vocals, mournful piano and soaring organ, all building on a haunting melody. Strongly juxtaposed with this gorgeous ballad is its flip, the provocatively titled "He's A Mother", a wah wah-infused stoner funk track with devilishly breathy vocals drifting in and out. The best of both worlds on one 45!

Besides writing most of his own material (in many cases along with his brother Garfield), Wilson Williams also penned some notable sides for Shiptown artists including Barbara Stant, as well as contributing vocals to The Positive Sounds. By 1978 he signed with ABC Records and had a string of quality singles with an updated Modern sound, including "Faith Will Bring It Home", and even a full album "Up The Downstairs". More recently he has worked on projects with his other brother Jerry Williams Jr., who of course is the legendary Swamp Dogg. To this day Wilson is still performing, most recently touring with a new line up of the Platters.

Wilson Williams "(I Can't Get Over) Losing You"
Wilson Williams "He's A Mother"

WDJ-The Prince Of Soul "Funky Loving" (Gent's YGB Records)

2009-08-20T09:26:00.049-04:00

Since Funk's inception, the influence of James Brown has been inescapable. In fact, J.B. is widely acknowledged as the genre's originator. With millions of records sold, legendarily mind-blowing live shows and a relentless touring schedule, it's indisputable that Mr. Brown was indeed the king, and pretty much the personification of the style. It only makes sense that the countless acts that sprang up during Funk's golden era bore quite a striking resemblance to Soul Brother #1.

Virginia definitely had more than it's share of hopefuls doing their best James Brown. A prime example of this phenomenon is a 45 on the Gent's YGB label out of Norfolk by WDJ- The Prince of Soul. "Funky Loving" is so dead on it you'd swear you just stumbled upon some great lost track by The Godfather himself. The only major difference is the sexy female backing vocals utilized on the Prince of Soul's take.

On the flip, we find WDJ (W.D. Jordan) showing some range with a achingly heartfelt ballad "Invitation To Love". We highly recommended Sir Shambling's fantastic site for a listen to this and many more lost deep soul gems.

Special thanks to our friend Kevin Coombe of D.C. Soul Recordings for the WDJ photo!

WDJ-The Prince Of Soul "Funky Loving"

Hot Lungs "I Cried One Million Tears" (Pe Pe)

2009-07-17T20:08:00.035-04:00

Frank Guida sure had a knack for making music that sounded like nothing else anybody had ever heard before. Drawing heavily from seemingly disparate influences including Afro-Caribean rhythms, classical, gritty R'n'B, and the melodies of his Italian-American upbringing, Guida's compositions had an exotic quality that was alien to top 40 airwaves of the time.
His production style was dense, compressed and very loud, recorded with meters planted firmly in the red, and mastered super "hot", resulting in a delightful distortion that gave everything an electrifying live edge. Get a small but enthusiastic audience to come into the studio to clap their hands and raise a ruckus while the tape is rolling, and you've got a party... and a hit record. It was a sound that leapt from the speakers, and stood out ingeniously on AM radio. The drive to be different served Guida well, as his trademark "Norfolk Sound" routinely held lofty positions on the national charts (including two #1's) throughout the first part of the 60's.
But for every hit Frank Guida had over the years, there were a host of obscure recordings equally as captivating, and in many instances even more unusual. Case in point: the work of a singer known as Hot Lungs. We're not positive if Guida came up with this attention grabbing stage name a la Gary U.S. Bonds or Jimmy Soul, but one thing's for sure, it's definitely fitting.
Our pal Don Harrison, who interviewed Frank Guida in depth and wrote a fantastic article for 64 Magazine in 2001, shed much light on Hot Lungs since this entry was first published. According to Don: "Hot Lungs was none other than Jimmy Moore, who had been singing on Guida recordings since the early '60's, when he was the lead singer for the Sheiks. He also cut two great 45s for Guida on SPQR and Legrand under his own name. 'Church Street Sally' on SPQR is a particular favorite". It's also speculated that Moore was the uncredited lead vocalist on the novelty record "Spanish Cooking" by Chaos Incorporated (S.P.Q.R. 1005). Jimmy's alter ego Hot Lungs had two more singles, "Take Me Back To Virginia Beach" for the Got It label (named for Frank's record store, Frankie's Got It), and "I Cried One Million Tears" the only record we're aware of on Pe Pe. Jimmy Moore did, however, return to cut two singles for Joe Riley the first on the obscure Seagull imprint, the latter on the more familiar Pesante label.
"I Cried One Million Tears" is not so much a reworking, but a total deconstruction of the early Gary U.S. Bonds B-Side "One Million Tears". Whereas Bonds's 1961 reading is a plaintive ballad, Hot Lungs unleashes a throat-shredding howl worthy of his moniker. The whole thing is a weird amalgam of hard driving acid rock and funk. Besides the "double tracked" vocals and overall raucous "live" quality, this one bears little resemblance to the sound that made Guida famous. Nonetheless, the song still possesses the genre bending uniqueness that made so many of Guida's recordings interesting if not great, and very difficult to pigeonhole.
This record illustrates how radically things had changed since the dawn of the 60's. The Norfolk Sound hit machine had slowed considerably, at least on a national level, with the onslaught of the British Invasion. Ironically enough, many of these bands were influenced by Frank Guida's classic recordings. Regardless, Frank generally viewed these new acts and their sound with disdain. In fact, legend has it that in the early 60's Guida received a demo by The Beatles (then unknown stateside). Independent labels like VJ and Tollie jumped at the chance, Guida flatly declined. No doubt a huge business blunder, but a decision he steadfastly stood by until the day he died.
But that was Frank Guida, a guy with a strong vision, who wasn't afraid to (colorfully) express his opinions one way or the other. Although a record like "I Cried One Million Tears" seems odd, it makes perfect sense coming from a character like Frank. It's yet another compelling moment hidden away in the prolific, widely varied and wonderfully strange output of a man who was successful at a business in which he broke so many of the rules. A man who no matter how many gold records he had, still seemed to relish throwing the more than occasional curve to keep us all guessing.

Many thanks to Don Harrison for his invaluable information and all the support!

Hot Lungs "I Cried One Million Tears"

Lenis Guess Entertains The People @ Dig Deeper

2009-07-06T17:13:00.036-04:00

Decked out in a sharp white three piece suit with red shirt and white tie, Lenis Guess took the stage at Brooklyn's Five Spot with a nice fresh peach in hand. He slowly savored a few bites of said peach, musing over how hard it is to find a nice fresh one in New York, then placed it in a ziploc bag, slowly removed his wrap around red shades, and confidently launched into "For All You've Been". Lenis told the crowd it was the first time he had ever performed the song on stage. There he was, some forty plus years after the release of that first solo record, just getting around to singing it in front of a live audience. Pretty hard to believe, considering it's one of his greatest songs, but then again it was pretty fitting for such a special night.
It had been a couple decades since Lenis last performed in New York, but you wouldn't have known it from the show he put on at June's Dig Deeper. Some people just seem to be born entertainers, with a charisma, a presence, that never really fades away. This is Mr. Guess to a tee. He's still got it!
Lenis worked the crowd like a pro, his voice still in remarkably fine form, as he moved through a killer selection of his classic 60's tracks. Highlights included "Working For My Baby", "Thank Goodness Gotta Good Woman", and of course, "Just Ask Me", the show closer. The aptly named Solid Set did an amazing job supplying the musical backing. Guitarist and band leader Damon, took some good-natured ribbing between songs from Lenis, who affectionately referred to him as "the greatest guitar player in the world" and the bespectacled bass player, whose name escaped Lenis, as "Buddy Holly".
After a perfect set of about forty five minutes or so, Lenis finished things off with a blazing encore of "Why, Why, Why'd She Leave Me?" (a crowd favorite!) and then left the stage to the cheers of a packed room.
As the place buzzed in the wake of what could only be described as a phenomenal performance, Lenis came back out in a mustard colored button down shirt and gray slacks and unassumingly walked through the club. Drawing no attention to himself, he quietly slipped out onto Myrtle Avenue. It was an almost Clark Kent like transformation, but not too surprising from a class act like Mr. Guess. A true gentleman, who's probably seen it all in his distinguished career, he let his music speak for him.
We're just glad we could have been there to see a legend work his magic. When we first started finding the name Lenis Guess on so many of these great Virginia records we were turning up, we never in our wildest dreams thought we'd see him perform live someday. It was almost surreal to actually be witnessing it, and there were definitely some emotional moments. It was truly something we'll never forget.

Thanks to Nicole Lang Key and Kimberlee Fuller for the photos. And thanks to Lenis Guess for bringing it!

Lenis Guess "Why, Why, Why'd She Leave Me ?" (S.P.Q.R.)

2009-06-21T14:27:00.012-04:00

To get you ready for the Lenis Guess show at Dig Deeper this Saturday, we bring you an overlooked cut from his great S.P.Q.R. run.

In the playfully dramatic intro Lenis strains to hold back the tears, then a slight pause, some hard nasty drums kick in, the band gets down to business, and Mr. Guess tells us what's on his mind, with equal parts sorrow and righteous indignation. A soulful piece of rock solid funk that chugs along with forcefully melodic horns and and a catchy as hell chorus that anybody could chant along to immediately. Too bad this one fades out just as the soul clapping gets going.

So many classics to pull from. We can't wait to see Lenis this weekend. This is going to be an amazing show. Whatever you do, don't miss it!

Special thanks to our friend Kevin Coombe of D.C. Soul Recordings for the great photo of Lenis!

Lenis Guess "Why, Why, Why'd She Leave Me ?"

Lenis Guess @ Dip Deeper (NYC) Saturday June 27th!!!

2009-06-10T08:29:00.012-04:00

Fresh off his triumphant performance at the prestigious Prestatyn Soul Weekender in the UK, Virginia Soul legend Lenis Guess will be doing his first New York show in decades this month at Dig Deeper. This promises to be a very special night, and we are honored and excited to be spinning some funky Virginia 45's during the festivities along with hosts Mr. Robinson and DJ Honky.
Mr. Guess takes the stage around midnight backed by the super tight Solid Set, to perform his classic 60's material including the bona fide killer "Just Ask Me".
Mark your calendars now: Saturday June 27th 10PM at The Five Spot in Brooklyn. For more info and to purchase tickets in advance, please visit our pals over at Dig Deeper. See you there!

Dig Deeper NYC with Lee Fields!

2009-04-15T08:57:00.003-04:00

Although not a Virginia native, Mr. Fields recorded many of his greatest songs in the Commonwealth. Our friends over at Dig Deeper are having him over to lay down a set of super heavy funk and soul at the Five Spot. If you live in the NYC area, this is a show not to miss. Also just announced will be the one and only Lenis Guess for June!

Star Material "Give Me Some Play / I Need You" (Sprite)

2009-04-14T09:42:00.012-04:00

In the 70's, the Commonwealth was well represented on the charts and radio dials with such acts as Mass Production, Poison, Trussle, Ujima (Later Anglo Saxon Brown and Silk) and smaller groups like Standing Room Only, Starfire, and Star Material. Star Material was a Richmond group produced by Tyrone Thomas of Virginia powerhouse The Whole Darn Family and Richmond record mogul supreme August Moon. This lone single on the Sprite label is not rare by any means, but is a good representation of the Virginia sound during the late 70's. Members of the band continue to perform, including vocalist Jimmy "Slim" Smith who is part of the Richmond's NYCE

Star Material "I Need You"

Belva & The Randolph Bros. "Happy Fool" (Randolph Bros. Productions)

2009-03-17T09:30:00.017-04:00

The Star City's own Randolph Bros. return, this time adding a sister to the mix. Belva's unique vocals on the super catchy "Happy Fool" immediately draw you in with a delivery that's somehow innocent yet knowing. Ultimately, it becomes clear that she's not as blissfully ignorant as the title might lead us to believe. The rhythm section falls into lock step behind a crisp guitar line, as the horns deftly augment the tight arrangement with percussive melody. Then out of nowhere comes this blast of fuzz, as if the Deep Purple tour bus made a quick detour through the studio on the way to the Roanoke Civic Center. Truly out of left field, but, hey, it works!

Belva & The Randolph Bros. "Happy Fool"

Van Jones And The Jays "YTTG To The Freak" (Norfolk Sound)

2009-02-26T09:14:00.019-05:00

Van Jones is best known for his 1981 album "Time Has Made Me New", a highly sought after Modern Soul masterpiece that most point to as the pinnacle of his career. Trying to track down all the records Mr. Jones put out over that varied recording career can prove challenging to say the least, but infinitely rewarding. Spanning a couple decades and ranging from Sweet Soul to Disco, for every new Van Jones record discovered, there usually seems to be a new label or different address to ponder as well. One 45 on Silver Sound, "I Just Want To Love You" (1976), has a San Diego address, while the next on the same label, "I Fooled Myself" (1977), came out of Virginia Beach.
Our quest to piece together the far flung discography of Van Jones ended up taking us to a another galaxy, where we stumbled upon "YTTG To The Freak", by far one of Van's most obscure releases (from an album that as far as we know never saw the light of day), and without a doubt his strangest. Transmitting live from Planet Grind in 1978, Van Jones and The Jays had to be feeling the influence of P-Funk at the height of it's intergalactic powers, and using the Mothership as a launch pad, Jones and the boys take things to a whole new level...of insanity. The largely indecipherable vocals on "YTTG To The Freak" make Sir Nose D'Voidoffunk sound like
Sir John Gielgud, while underneath it all the band brings some much needed grit to the slickness of late 70's Disco Funk. Who knew outer space could be so grimy?

"YGGT To The Freak"
"I Do Love"

The America Poeple "Give It Up, If You Can't Do Nothing With It" / Prince Charles & The Royal Guards "Funky Bootie" (Attack)

2009-01-09T22:57:00.028-05:00

Room 206 of the mysterious "American Building" in downtown Richmond, served as the headquarters for Charles E. Scott and his curious venture Attack Records. Boldly touting itself as the "Virginia Sound", Attack went on the offensive issuing a handful of oddly off kilter, if not down right strange recordings ranging from Lance Corporal Charles E. Scott's "From Vietnam With Love" (recorded "Live" on the battlefield) to girl group the Honey Bees, to Reginald "C" and Jimmy Wonderful to the traditional gospel of The Jones Special (released on the subsidiary International Music World, a record for which the term low-fi doesn't even begin to paint the picture).
"Give It Up" by The America Poeple (possibly a pun on one time Richmond resident Edgar Allan Poe, but more likely just a typo) very well could have been the final release on Attack. And although still quite a bit rough around the edges, it is perhaps the most consistently tight and, yes, polished effort Attack had to offer. Although the 45's label alludes to a full length LP, it seems that such an album never materialized. Makes you wonder what was about to come and why Mr. Scott would stop just as he seemed to be figuring things out.
Trying to piece together the Attack Records catalog proves quite challenging. The release numbers jump all over the place, showing no obvious chronological sequence. To make matters even more confusing, one 45 has too many digits listed in the phone number and another has the wrong area code. The only common thread amongst these recordings seems to be the overall crudeness of the production (or lack there of), and the tendency of performers to occasionally fall noticeably out of key.
But what most might dismiss as crassly unprofessional or even inept, to us makes Charles E. Scott's Attack label all the more intriguing and endearing. These records display the do-it-yourself ethic in its most basic form. A spirit that seems to be behind just about every record we spotlight here at Funky Virginia. We can only assume that "Prince" Charles had to be a true character, a man of unflagging ambition with an amazing story to tell. Only in America...

The America People "Give It Up, If You Can't Do Nothing With It"
Prince Charles & The Royal Guards "Funky Bootie"

The Grooms "I Deserve A Little Bit More" (Shiptown)

2008-11-22T09:51:00.031-05:00

When it comes to the Tidewater music scene of the 60's & 70's, there were few figures more important or better regarded than Shiptown Records founder Noah Biggs. Ever the dapper gentleman, Mr. Biggs, always attired in a fine suit and matching brimmed hat, was nearly as famous around Norfolk for his sharp fashion sense as his business savvy. In the early 60's he managed the local group Norman Johnson and Showmen and succeeded in getting them signed to New Orleans label Minit. With their name simplified to The Showmen, the group immediately achieved huge national success with "It Will Stand". Building on this triumph, Mr. Biggs soon opened the record store Nimrod (named for the Biblical great-grandson of Noah) on Church Street in Norfolk. Nimrod soon became an epicenter for youngsters with an interest in music. There was a booking agency based out of the store, and even a make shift recording studio in back with The Positive Sounds serving as the house band.
By the second half of the 60's, Noah Biggs had christened new record labels including How Big, Gregory and Shiptown to serve as outlets for the talent he had been discovering and developing. With a roster boasting the likes of Ida Sands, Barbara Stant,and The Soul Duo, Biggs's family of labels had achieved quite a reputation regionally.
Constantly aspiring to utilize his extensive connections to get his artists to the next level, Mr. Biggs viewed many of the releases on his local labels as demos to showcase songs and performers and create a buzz in order to get them placed with larger national companies. As a result, some Shiptown releases can be hard to track down because they had very limited pressing runs (sometimes 200 or less).

One of the last releases on Shiptown, the lone 45 by The Grooms, came in the mid 70's, only a few years before the passing of Noah Biggs in late 1978. The single's A-side, "Slow Down", is phenomenal mid tempo funk with amazing vocals and a killer horn arrangement. Please check out Brent Hosier's Ol' Virginia Soul: Encore! CD for "Slow Down" as well as more information about The Grooms and selections from some of the group's Shiptown labelmates.

The devastating B-side "I Deserve A Little Bit More" is a nearly five and a half minute beat ballad that slowly builds to a spine tingling crescendo. This is raw group soul at its best, with a wonderfully gritty mix of tight harmonies and nearly unhinged emotion. You can feel the longing, as the lead's voice cracks a little bit at the very end. If this one doesn't move you, check your pulse.

Please visit Shiptown Records, recently relaunched by the new Mr. Biggs, Noah's son Howard, for an amazing collection of sounds, video and photos of artists past and present. The tradition continues!

Special thanks to group harmony advocate and unwavering champion of the ballad, Kym Fuller.

The Grooms "I Deserve A Little Bit More"

Randolph Bros "What It Is Pt.1" (Star City)

2008-11-14T09:15:00.017-05:00

On November 23rd, 1949 the city of Roanoke, Va switched on an illuminated star high atop Mill Mountain, which still shines there to this day. Perhaps the mountains of Virginia would not be the first place to come to mind as a hotbed for soul & funk, but "The Star City" boasted such heavyweights as Earl Carter & the Fantastic 6 and fellow funkateers The Randolph Brothers. In the early 70's, The Randolphs decided to put The Star Of The South on the R&B map with two strong singles, "What It Is" was the first. (Don't worry kids, we'll get the other one up soon.)
Randolph Bros. "What it is Pt.1"

Blackdog "Something Funky" (Studio 1)

2008-11-06T09:10:00.020-05:00

Indeed it is. In an area best known for bluegrass and southern rock comes this slab of synth laden funk. The Tazewell/Bluefield VA area is rich in musical history and culture, but I dare to say there's not much "funk" to be found. Could it be a song written to cash in on a trend? Probably, but they did one hell of a job (The B side ballad shows that they probably should have stuck with R&B). The Average White Band did one thing, their three degree of separation copycats at least were a bit more interesting. Check out the organ as well, it's very tasty.
Blackdog "Something Funky"

Lenis Guess "Just Ask Me" (S.P.Q.R.)

2008-10-24T19:04:00.018-04:00

Hot on the heels of the 1966 garage punk classic "Do You Have To Ask" by the Swinging Machine, Frank Guida released yet another two sided monster. "Working For My Baby" was an even bigger regional hit for the label, and would become the record that really launched the long career of Lenis Guess. The song was big enough to merit a re-release with a more uptempo b-side version on Guida's Legrand label. In fact, "Working For My Baby" possessed enough staying power that it was subsequently covered by Gary U.S. Bonds (with the exact same backing track, again on Legrand), as well as blue eyed soul rockers King Edward & His BD's (Roga). Then Lenis came back a couple years later to make another run at it on the New Faces '68 label.
Here we spotlight the flip side of the original S.P.Q.R. release. "Just Ask Me" has been getting attention overseas in Northern Soul circles for quite some time, and with good reason. Inspired by The Four Tops' "I Can't Help Myself", Guess enlisted veteran Tidewater band Charlie McClendon and The Magnificents to lay down the pounding back beat, accentuated to devastating effect by Frank Guida's trademark bottom heavy production, the legendarily huge "Norfolk Sound". Staccato horn lines build on the intensity. Lenis's excellent lead is supported beautifully with the soaring backing vocals of The Royal Robins to top off this heavenly soul stomper, a record that still packs dance floors to this day.
Lenis Guess went on to sing on a number of records, and more importantly, became a true force in the Tidewater music scene, writing, producing and releasing countless masterpieces (on his own local labels as well as nationally). Mr. Guess lives in New York now, and continues to work tirelessly in the entertainment business, and has even tried his hand in the movies. Check out his website,
www.lenisguess.com to see what this multifaceted artist, entrepreneur and ultimate producer is up to these days.
Lenis Guess "Just Ask Me"

3rd World Band "Third World Tripping" (New World) / Third World Connection "Hot Seat" (Pesante)

2008-09-24T22:47:00.030-04:00

The two singles by 3rd World Band, offer a glimpse into a Norfolk, Virginia scene that had no shortage of insanely tight bands in the 70's. Their first single, "Third World Tripping" is about as mind blowing as the title would have you hope. From the opening horn salvo and rapid fire snare roll, this one never lets up. With nary a wasted note, The Third World Band delivers one of the most dynamic funk instrumentals you're ever likely to hear. Fast, concise and hard hitting, with bold horn lines that stay with you. Add the punchy production of Lenis Guess, and you've got all the elements for serious Funk perfection.

By 1976, The 3rd World Band had become The Third World Connection. Chester Benton and company traveled west on 64 to Richmond's Alpha Audio to record their second single, a Disco Funk killer for Joe Riley's Pesante label. "Hot Seat" opens with the Connection rolling through the zodiac, exhorting everybody to hit the dance floor. From the get go, you know it's on. "Scorpios, get off!"

Special thanks to our friend Kevin Coombe of D.C. Soul Recordings for the great band photo!

3rd World Band "Third World Tripping (Part 1)"

Third World Connection "Hot Seat (Pt.2-Disco)"

Flip Flop Stevens & His Psychedelic Soul Orchestra "Philly Hump" (Dynamite)

2008-09-12T09:25:00.023-04:00

Willie Stephen, better known as Flip Flop Stevens, was legendary in the Tidewater area as a high energy performer. Flip's three known singles offer some insight into just how dynamic his live shows must have been. His first record for Shiptown, 1968's "Come On Let's Do That Thing", even came complete with over dubbed crowd hysteria. In the next two years Stevens went on to release two more 45's, both on Dynamite. "Live Your Own Life" (available on the Ol' Virginia Soul: Encore! CD) was his first for the new label, a 100 MPH funky soul stormer widely regarded as his best.

Here we present the B Side, "Philly Hump" for you approval. Flip Flop grabs a well deserved rest on this one and shines the spotlight on his Psychedelic Soul Orchestra. "Psychedelic" might be a bit of a stretch to describe the band's sound, but the ominous organ that drives this funky instrumental does sort of sound like it was rescued from a haunted castle. Maybe if Iron Butterfly had some soul... Nah, this would still be miles better!

Special thanks to our friend Kevin Coombe of D.C. Soul Recordings for the great photo of Flip Flop!

Flip Flop Stevens "Philly Hump"

The 35th Street Gang "The Dance Of Love" (Guess)

2008-09-07T18:17:00.020-04:00

The 35th Street Gang, also known as Raw Soul, did extensive work for Lenis Guess during the 70's. As the house band at the Brockington-Guess Recording Studio on 35th Street in Norfolk, this insanely tight trio appeared (credited & uncredited) on a slew of outstanding tracks. Brent Hosier's Ol' Virginia Soul: Encore! compilation offers a well chosen survey of these recordings, many of which were previously unreleased, as well as some very informative liner notes.

One song that didn't make the cd is "The Dance Of Love", an oddball b-side to the bouncy soul tune "I Spy". "The Dance of Love" is a steamy offering. Backed by an otherworldly chorus, our deep voiced narrator (Lenis Guess) spins the tale of an ancient fertility rite in a far off land. Any good ritual needs strong drums and Grover "Groove" Everett goes above and beyond the call. Bassist Maurice Glass and Guitarist Barry Saunders further flesh out the rhythm with uncanny precision. Then comes the searing fuzz guitar, perhaps supplied by local psych veteran Dean "Gooseberry Pie" Kohler, who Lenis enlisted around the time to give his records more of a rock appeal.

It's hard to imagine that anyone had any aspirations for this song getting any airplay, but stranger things have happened. Maybe it could be viewed as a novelty. Who knows? More than likely it was just a throw away track destined to fill space on a flipside. Simple as that. Regardless of what the thought process was, we're just glad that little pieces of weirdness like this actually make it to wax. Wondering how & why is just part of the fun.

Special thanks to our friend Kevin Coombe of D.C. Soul Recordings for the amazing band photo!

35th Street Gang "Dance Of Love"

Weekenders "Signed, Sealed, And Delivered" (Wayne-Way)

2008-09-05T21:31:00.020-04:00

Waynesboro, Va has traditionally had a rich reservoir of musical talent to draw from in the surrounding Shenandoah Valley. In The 1960's, record labels like Major (MRC), Lark, and Wayne-Way flourished, as each vied for its own slice of the market in the western part of the state and beyond. For a town whose population is still just over 20,000, Waynesboro has been impressively prolific, both in terms of the sheer number of records released as well as the wide variety of genres represented.

As was typical of fellow Waynesboro labels, Wayne-Way put out a hodge podge of music from Garage to Rockabilly to Soul to Country (The Statler Brothers got their start at the label doing backing vocals). "Sign, Sealed, and Delivered" by the Weekenders is an interesting example of a number of these styles coalescing in a wonderfully unrefined concoction. Inspired by the James Brown cover of this Cowboy Copas Country Western classic, the boys turn in a rockin' version of their own. The vocals are snarling, squealing white boy soul with attitude to spare and even a hint of country twang, while the backing band gives it their all, sounding like they were recorded while playing a teen dance inside an airplane hanger. The B side is possibly a vague attempt at a Booker T style instrumental or a perhaps an attempt to make their parents happy. Or maybe The Weekenders were the house band at the only strip joint in town. Your guess is as good as ours.
Weekenders "Signed, Sealed, And Delivered"

Robert Tanner "Tell Me Your Name / How I Feel" (Megatone)

2008-08-24T20:04:00.014-04:00

Legendary Soul two-sider from Lynchburg, VA. This record is pure class. The elegant vocals of Robert Tanner show the confidence of someone who doesn't need to resort to histrionics to express deep emotion or get someone's attention. His voice is a unique blend of strength and vulnerability that conveys an honesty, a truth that is at the core of the best Soul Music. The tasteful backing of his band, The Jivers, (in particular the guitarist) makes this subtly powerful 45 irresistible. This is one of those records that just works its magic the more you listen to it.
Robert Tanner's follow up release on Megatone, "Sweet Memories", is arguably even better and equally as rare. Both 45's have achieved true grail status amongst discerning soul collectors and have gotten spins for decades to appreciative dance floors at Northern Soul nights in the UK and beyond. Later in the 70's, Tanner went on to form The New Sounds, releasing a superb album for Sylvia Robinson's Turbo label out of New Jersey. One of the label's rarest and most sought after releases, the self-titled New Sounds album contains stellar updated versions of "Tell Me Your Name", "How I Feel" and "Sweet Memories".
Mr. Tanner still resides in Lynchburg as does fellow New Sounds member and writer and producer of the Megatone sides, Dawson Smith. Smith had a great release of his own on the nationally distributed Scepter label, the funky "I Don't Know If I Can Make It", that even managed to scratch it's way onto the Billboard charts in 1975.

Special thanks to our good friend Jason Hamlin for loaning us this elusive masterpiece. Hope you enjoy it as much as we do.

Robert Tanner "Tell Me Your Name"
Robert Tanner "How I Feel"

Wild Sound Unlimited "I Know You" (Colpar)

2008-08-23T09:56:00.015-04:00

Richmonder Nick Colleran founded the seminal frat rock band The Escorts in 1961, while attending Douglas Freeman High School. Through the balance of the 60's The Escorts became one of the the most popular bands in town, releasing five singles and even a full length album, "Bring Down The House", which was recorded live at the Richmond Mosque in 1966. In addition to handling guitar and vocal duties, Nick also produced the band's records and started the T.E.O. (The Escort Organization) label.
After the break up of The Escorts in 1969, Nick continued to engineer, produce and release records. "I Know You" by Wild Sound Unlimited is an interesting example from this period. This infectious blue eyed soul tune fits comfortably enough into the Beach Music category, but to our ears it has a little extra "oomph" that sets it apart from what you would normally associate with the genre. Sure, it has the prerequisite tight horns, the warm vocal harmonies, the bright, catchy melodies (even though the actual lyrics are about a really ugly break up), but the punchy production on this record really brings out the break-neck drumming. The drummer on this track is bonkers!
Mr. Colleran definitely knew his way around a recording studio, but he also had a strong entrepreneurial streak. By 1972 he co-founded Alpha Audio in Richmond, which soon became Virginia's first major state of the art studio, recording everything from commercial jingles (national and regional), to t.v. and movie voice overs, to up and coming local bands, to platinum selling major label acts. But we'll save that story for another day...
Wild Sound Unlimited "I Know You"

Truth "Maybe Soon" (Thoth)

2008-08-20T09:20:00.008-04:00

Beach music in the south side of Virginia has been a huge musical force since the mid sixties when clubs along the VA/NC coasts thrived with R&B loving teens flocking to the beach wanting to dance to the sounds of a full live band. Truth were a late entry in the beach music scene, they were more of a show band but still kept the feel of a classic beach band (well before the late 70's, early 80's revival of the "shag scene"). The lone single from Truth come out on the Thoth label in 1972. These guys played all over the east coast, opening for everyone from James Brown to Blood Sweat & Tears. "Maybe Soon" is classic mid tempo beach all the way around, overly optimistic and as breezy as the Carolina beaches.
Truth "Maybe Soon"

Royale VII "Hand Out Love" (Windmill)

2008-08-19T08:59:00.009-04:00

Hailing from the Hampton area, The Royale VII realeased two 45's in the early 70's, both on the Windmill Label. "It's An Explosion" is now a high dollar record on the Northern Soul scene, and rightfully so. But here we turn our attention to the uptempo stormer "Hand Out Love". Call it what you want: White Boy Soul, Horn Rock, it doesn't matter. This track kills.
No surprise, the Royale VII had years of experience under their belts. These guys cut their teeth as the Sheepherders, playing tons of frat parties and club dates across the region. The band also released a great single, "If Ever You Need Me", on the Sounds International label out of Norfolk. Featuring vocalist Bubba Bailey, the Sheepherders were yet another interesting example of a white band fronted by a black singer touring and recording in the Commonwealth during the turbulent 60's.
As they entered the 70's, the band changed singers and became the Royale VII. The horn section was the focal point, as evidenced on both their singles. The horns are absolutely huge on "Hand Out Love", but the rest of the band is just as tight. The rhythm section sets a torrid pace, with the bass in particular pushing things along. Add some fuzz guitar to the mix along with some urgent vocals, and you've got a power packed two and a half minutes!
Royale VII "Hand Out Love"

Stars Of Virginia "Soul Religion" (MRC)

2008-08-10T15:41:00.012-04:00

The aptly named Stars Of Virginia were among the elite groups from the gospel hotbed of Richmond, VA. In a career spanning decades, this highly regarded outfit recorded for several labels, local and national, including Atlantic and King Records.
The quintet cut at least four LP's and a handful of singles for John Major's Major Recording Company (MRC). Located in Waynesboro, the prolific MRC was responsible for a wide variety of recordings from Virginia artists. The bulk of these releases seemed to be Country or Bluegrass, but there were also quite a few interesting exceptions, including some pop, garage, light psych and black gospel records.

Led by Mr. Clyde Wilson, The Stars of Virginia were responsible for countless hard hitting gospel tracks, but this is the only one we know of that could be classified as a true "funk" record. Recorded in the early 70's, "Soul Religion" stands as a great example of a record that not only delivers but actually exceeds everything its title might promise. From the opening chords of wah wah guitar to the booming bass to the tight echoing horns to the rock solid back beat and tambourine, this song has all the right elements. Top it all off with the awe inspiring vocals of a world class gospel group and this one sails into the stratosphere.
Stars Of Virginia "Soul Religion"

The Roc-Kays Band "A Love As True As Mine" (Nairobi)

2008-08-04T08:30:00.023-04:00

The enigmatic Roc-Kays Band released their only 45, a raging 3:00 afrofunk workout backed with a deep soul ballad, some time in the early 70's. Recorded at D'arcy Studio Center in Norfolk, the A side "Roc-Kays Afro" is available on the Ol' Virginia Soul: Encore! CD. While here we present the B side cut "A Love As True As Mine" for the first time anywhere, unless, of course, you are lucky enough to have your own copy.
Roc-Kays Band "A Love As True As Mine"

Jerry Wilson "I Like The Music/Everybody Spread A Little Love" (Dusk & Dawn)

2008-08-01T09:00:00.025-04:00

Danville's own Jerry Wilson got his start as a vocalist for the integrated Soulmasters band in the mid 60's. The Soulmasters played the beaches of Virgina and the Carolinas, local Coke bottling plants, drive-ins, just about anywhere they could get a gig, and in 1967 released what is now a highly sought after 45. At some point in the 70's Jerry took off from southside Virginia and ended up in the DC metro area where he met up with the great Al Johnson (of "Peaceful" fame) and recorded this nice piece of disco soul.
For more info on the southside scene go here
"I Like The Music"
"Everybody Spread A Little Love"

Jack & The Mods "It's Your Thing" (Hamtown)

2008-07-27T13:25:00.008-04:00

No doubt inspired by the Jackson 5, the Towns brothers (who also numbered five) were joined by two more members for good measure. These seven lads most likely hailed from Smithfield, Va (hence the label moniker "ham town"). Ranging in age from 11 to 18, Jack & The Mods performed with a well rehearsed professionalism far beyond their years. The percussion laden intro to their sped up version of the Isley Brothers' "It's Your Thing" demonstrates a tight funkiness that musicians twice their age would envy. These very impressive youngsters breathe new life into a funk standard that's been covered too many times to even begin to count. This version however, led by 12 year old vocalist Ricky Towns, has to be among the most memorable of them all.
Recorded in 1971 "It's Your Thing" is actually upstaged by its flip, the phenomenal original composition "One Is Enough For Love". Eleven year old Jake Towns sings lead on this sublime sweet soul ballad, backed by group harmonies that would melt the heart of even the most jaded listener. Check out the Numero Group's outstanding collection "Home Schooled" for "One Is Enough For Love" as well as other rare kiddie soul treasures from around the country.
We would also strongly urge you to check out Brent Hosier's Ol' Virginia Soul: Encore! compilation for the previously unissued Jack & The Mods funk stormer "The Jack Mod Kick". While you're at it, pick up the limited edition 45 issued by Mr. Hosier on Bamtown containing "The Jack Mod Kick" and the stellar ballad "Don't Wake Me Up" (also previously unreleased).
Jack & The Mods "It's Your Thing"

Preacherman Isidore Womack "I've Got Power In My Mind / Every Time I Think Of You"

2008-07-21T22:23:00.011-04:00

Perhaps not gospel in the most traditional sense, but no less moving. Isidore Womack testifies in his own unique way. Real talk for grown ups about struggle in life and love. The music and the message are stripped down with nothing to hide. Funky, Bluesy, Powerful. You can feel the anguish in Womack's voice as he confesses "She don't give a damn about me" or states point blank "Every time I think of you, baby. You come around telling me that same old lie. You is not my everything in my life".
But Brother Womack keeps his head up: "I've got power in my mind. I've got loving in my heart...All love goes to my God." Preach on...
These two sides were recorded in 1978 at Alpha Audio on Broad Street in Richmond. The story goes that the Preacherman would routinely pop into local record shops peddling his self-released 45. Apparently, he had some lofty expectations as to where his career was headed. In a perfect world, maybe this single would have gone places, but some 30 years later we can at least give Mr. Womack his due for creating these wonderful songs and wish him peace wherever he may be.
Preacherman Isidore Womack "Ive Got Power In My Mind"
Preacherman Isidore Womack "Every Time I think Of You"

Church Of God In Christ Youth Choir "Strive!" (Redeem)

2008-07-16T21:29:00.005-04:00

The angelic voices of a youth choir soaring over raw pounding funk, a match made in heaven. Recorded at Alpha Audio in 1976, the impassioned female lead on this track is one C. Maroney. Precious little information besides that is revealed on this uplifting 45's label, but the message contained in the grooves tells you what it's really all about. "You Better Strive!"
Church Of God In Christ Youth Choir "Strive!"

Little Wink & Eddie's 25th Century Band "Sentimental Love" (Brock)

2008-07-09T15:47:00.009-04:00

This moody & exotic beauty was the flip of the majestic dancer "Peacock" (which can be heard on the outstanding Ol' Virginia Soul: Encore! compilation). "Sentimental Love" is one of the more unique and imaginative instrumentals you'll ever hear. Hypnotic lead guitar weaves it's way around bubbling rhythms, striking the perfect balance with the popping percussion: laid back yet funky.
Recorded in Norfolk (1972)at Dorsey Brockington & Lenis Guess's studio on 35th Street and released on the Brock label (named for Dorsey) this elusive two-sider was followed up about four years later with a souped up remake of "Peacock" recorded at Alpha Audio in Richmond.
Little Wink & Eddie's 25th Century Band "Sentimental Love"

Rick (Bat) Masterson "Comin' Home Ruby" (Stage 4)

2008-07-09T08:51:00.010-04:00

Heading off the beaten path we end up in Charleston, West Virginia to visit blue eyed funkateer Rick Masterson. If Elvis was a truck driver listening to CCR on the eight track with a Tony Joe White on deck, he may have been inspired to write this song. Recorded in the back of a Greyhound bus station, it's as raw as any funk track you could find with its gut bucket drums, scraggly guitar and manic organ playing,
but it's core is pure country. "Comin' Home Ruby" is possibly one of the best examples one could find of a pure country-funk hybrid...straight from the hills of WVA.

Rick "Bat" Masterson "Comin' Home Ruby"

William C Belton, Jr & Elcomb "Come On Back To Me Baby / Apart In Miles" (Elcomb)

2008-07-08T09:33:00.018-04:00

Midlothian VA's own William Belton Jr has been recording for almost three decades. After being briefly signed to CBS Records in the mid 80's, he now owns his own record and publishing company, Phase International, and has been releasing new material at an inexhaustible rate. This, his first record, recorded at Alpha Audio with the mysterious Elcomb, is a nice example of the late 70's Modern sound with a touch of Southern funkiness straight out of the suburbs of Richmond. The haunting "Apart in Miles" is a brilliantly sparse ballad sung from the perspective of a prison inmate longing for his woman.
A truly under-rated Virginia Soul gem. Kudos to you, Mr. Belton and keep up the good work.
William C. Belton Jr. "Come On Back To Me Baby"
William C. Belton Jr. "Apart In Miles"

The Untouchables with Mark One Band "The Dragster Boy" (FAAP)

2008-07-02T19:22:00.007-04:00

Oh, The Humanity! The tragic tale of a young hot rodder meeting his fate during a high speed police chase. Propelled by wah wah guitar, organ & trumpet "The Dragster Boy" just can't outrun the fuzz. Sirens blare as our hero loses control of his ride and we hear a gut wrenching crash. "It's too late". He's run his last race.
Whatever restraint was exercised on side one of this 45 is completely thrown out the window on "The Dragster's Encore". A countdown to a rocket launch kicks things off and a locomotive makes an appearance as the Mark One Band goes for broke under a barrage of sound effects.
Recorded at label owner Elmer Hillard's infamous basement studio in Richmond's Fulton Hill, this FAAP (Fine Artists of America Productions) Records release is a real head scratcher. However, this lo-fi opus is not without it's charms. In the category of early 70's funk 45's about dead drag racers this record ranks among the best.
"The Dragster Boy" was the second release by The Untouchables on FAAP, the first being the crazy fast bongo fueled killer "Find A New Love" which you can hear on the superb Ol' Virginia Soul Part 2 compilation. Said collection also has more details on the fascinating stories of The Untouchables, label mate Laurie Tate, and FAAP Records. If you don't own all three volumes of Ol' Virginia Soul, snap 'em up right now!
The Untouchables And Mark One Band "The Dragster Boy"
The Untouchables And Mark One Band "Dragster's Encore"

Jade "Boodi Shakes Money / Paper Man" (Pesante)

2008-06-15T17:56:00.017-04:00

"Paper Man" popped up on most people's radar after its inclusion on Dante Carfagna's deadly Black Rock mix Chains & Black Exhaust. It's a plodding sludge fest of layered guitars that would pummel just about any "hard rock" band of the time into submission. The steady percussion underneath, including an unrelenting cowbell, gives it just the right amount of funk to keep your head nodding.
"Boodi Shakes Money", though not quite as heavy, is equally impressive with the bass making its presence felt along with some infectious vocals. But don't fret; the fuzz guitar and cowbell haven't gone anywhere.
It's hard to believe that this is the same band that is best known for the Modern Soul masterpiece "Music Slave". If you're not familiar with Jade's breath taking album "In Pursuit" check out our pal Kenny Bloggenz's blogspot and give your ears a treat.
These two very distinct phases of Jade's career make them one of the most compelling and enigmatic bands to ever hail from the Commonwealth.
P.S. Special props to label head Joe Riley for using a picture of The Norfolk Scope in the Pesante label design!
Jade "Paper Man"
Jade "Boodi Shakes Money"

Bernard Calvin "Greedy" (Tobacand)

2008-06-14T22:10:00.007-04:00

The opening drum break on side 2 of this 45 leaves little doubt why Bernard Calvin was one of the most highly regarded drummers in the Richmond area back in the 70's. But it's the guitar work throughout that makes this one special. A definite touch of Hendrix, and a huge nod to Phelps Collins' astounding style on "Get Up, Get Into It, Get Involved", whoever the guitarist was on these tracks, was a monster. Released on Hopewell's Tobacand Label, "Greedy" is a definite mind blower, especially towards the end of part two when the dubbed out vocals are in full effect.

Bernard Calvin "Greedy (Part 1)"
Bernard Calvin "Greedy (Part 2)"

The Deceptions "Of All The Hearts / People" (Brooks)

2008-06-11T21:23:00.041-04:00

The Deceptions were nothing but the truth! A three piece vocal group formed in 1968 and consisting of Malcolm Mason, Jimmy Williams, and leader Daniel Goldstone, they released three phenomenal singles: "You're Gonna Run To Me" recorded at Brockington & Guess Studios in Norfolk and released on the Peace label, "Of All The Hearts" for Walter Coleman's Brooks Records out of Hampton, and "Success" for Goldstone's own Stone Gold label, located in Newport News at the time.

"Of All The Hearts" appears to have been the more successful of the three outings, meriting two pressings. With it's distinctive harmonies, catchy chorus, moody guitar and up front drums, it's no wonder this uniquely beautiful beat ballad would have caught some ears. Interestingly, there is another version of this song done by the group Black & Blue on the Charlotte, N.C. label Game. The Black and Blue record lists Duke Hall as the song writer, while Daniel Goldstone is credited on the Deceptions version. We still haven't been able to get to the bottom of this discrepancy, and while the Black and Blue version is quite polished and seems to be better known, we prefer the Deceptions' more direct, stripped down approach.

On the flip side "People", we find Goldstone and company attempting to unify the worlds of R&B and Rock stylistically and lyrically. "You might be White/ You might be Black/ But don't let that hold you back/ We all want the same things in life/ So don't be ashamed/ To do it!" "People" reflects the upheaval of the changing times with a heady blend of searing guitars, funky drums and social consciousness. A heavy dose of Psychedelic Soul that serves as an indelible snapshot of a turbulent era, as well as carrying a message that's still relevant in today's world.

Their third single, "Success", as well as being the initial release for the newly formed Stone Gold label, would mark the final record under the name The Deceptions. Shortly after, the group would become Peace, Justice and Equality. PJE released two albums, It's Time (1976) and At The Disco (1978), both on Stone Gold. In fact, the exact same recording of "Success" appears on It's Time as well as reworked versions of "People" and "Of All The Hearts", with "People" evolving into an anti-drug track "Gettin' High".
The prolific Mr. Goldstone has had a hand in nearly every aspect of the music business for decades now, and has recently resurrected Stone Gold Records.
Special thanks to our friends at Virginia's Music Soul for the great group photos and info. Check out one of the web's best kept secrets!

The Deceptions"People"
The Deceptions"Of All The Hearts"

Ray T Jones "That Norfolk Sound" (Wee-Too!)

2008-06-08T20:36:00.018-04:00

What is it? Folk-funk? Psych-soul? Well, it's from 1975, but sounds more like '68, a fuzz infused ode to the Norfolk, Virginia club scene, where "fists flying in the night" was nothing out of the ordinary.
Ray Jones is best known amongst funk aficionados for the killer 45 "Beat The Knees", also released on Wee-Too a year later. Despite that track telling the tale of a guy from Norfolk named Leroy, with a flip side entitled "Take Me Back To Norfolk Town", the label shows a Philadelphia address. Turns out that Mr. Jones is a Philly native who relocated to the Hampton-Roads region while serving in the U.S. Navy. Judging by these songs Norfolk made a lasting impact on Mr. Jones. "Come on down to Norfolk, and get some ghetto in your life."

Ray T. Jones "That Norfolk Sound"

Welcome To Funky Virginia!!

2008-05-24T21:55:00.002-04:00

Our goal is to bring you sounds, photos & stories of funk & soul artists both well known and obscure from the Old Dominion. We can be reached at funkyvirginia@gmail.com Comments and submissions are encouraged!