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

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)

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 best known 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)

Rising from the ashes of Southside Richmond teen outfit the L'Sabres, a new band clad in black, faces covered in white corpse paint, made their mark on the city'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

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!

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"

SOLD OUT!

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

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)

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"