The Sept. 23 edition of Dean Farrell’s Soul Express featured a special countdown: the Top 40 songs on radio station KOWH in Omaha, Neb., for their weekly chart on Sept. 25, 1972.
Featured artists included Stevie Wonder, The Moments, Harold Melvin & The Blue Notes, Allen Toussaint, Mandrill, The Spinners, Denise LaSalle, B.B. King, Billy Preston, Laura Lee, Bobby “Blue” Bland, The O’Jays, Millie Jackson, The Staple Singers, Curtis Mayfield and James Brown.
A few acts listeners might not be familiar with, including Barbara Jean English, Creative Funk and Exuma, were also included.
When it comes to Rufus Thomas’ contributions to music and his incredible legacy — which is sadly underappreciated — get a pen and paper because the list is quite impressive.
If it’s dance music, he’s a go-to. Nicknamed “The World’s Oldest Teenager,” Thomas’ catchy dance tunes and unique style are captured on cuts like “Do The Funky Chicken” and “The Dog”. Funk traces some roots to “The World Is Round” and “The Memphis Train” which Tomas released in the 1960s. His “Bear Cat,” “Walkin’ The Dog” and “Jump Back” are connected like strands of DNA to the world-famous “Memphis Sound.”
But there was much more and you can learn about the fascinating patriarch of Memphis soul by checking out the Sept. 16 edition of Greasy Tracks.
There’s also a mix of Thomas tracks covered by a wide range of artists to provide just a snapshot of how he influenced so many others.
As an entertainer, Thomas was not only dynamic, but a dynamo. The program will provide an insight to the remarkable, yet vastly overlooked, artist, highlighting his contributions to rhythm and blues, soul and funk.
Born in 1917 in Cayce, Miss., Thomas was raised in Memphis and quickly influenced by the city’s rich musical heritage, which included blues, gospel and soul. As a youth, he would tap dance for coins on Beale Street, but his first foray into the music world came in the 1930s when he joined the Rabbit Foot Minstrels, a variety troupe, as a tap dancer. His knack for dance and his love for music quickly became apparent, foreshadowing a career that would seamlessly blend the two.
HOOT AND HOLLER: Rufus Thomas was a popular host at WDIA in Memphis for many decades. (Michael Ochs Archives/Getty Images photo).
His breakthrough came in 1953 when he signed with Sun Records and started working with Sam Phillips, the label boss and producer at his own The Memphis Recording Service which would later become Sun Studio. Sun launched the careers of Elvis Presley, Johnny Cash and Jerry Lee Lewis, amongst others.
Though Thomas didn’t achieve the same level of mainstream fame as these artists, he made significant contributions to the burgeoning rhythm and blues scene.
At the time of his early Sun sessions, Thomas was a disc jockey on WDIA in Memphis, a groundbreaking station that was the first to feature all-black programming. His popularity as a DJ helped him build connections with record labels and promotors.
Recording as Rufus “Hound Dog” Thomas, his 1953 debut single, “Bear Cat,” was a response to Big Mama Thornton’s “Hound Dog” and garnered substantial attention and sales, despite its legal issues due to copyright infringement — Philips literally nicked the lyrics from “Hound Dog”. It would be the first hit for Sun and Thomas, ultimately reaching No. 3 on the Billboard R&B charts.
In 1963, Thomas released “Walking the Dog,” which became a dance sensation, going to No. 10 on the Billboard Hot 100. It would go on to be covered by 100-plus artists and remains his most successful single.
His most enduring legacy is undoubtedly his association with Stax Records, the iconic Memphis soul music label. At Stax, he became a vital part of the label’s roster and contributed to its distinctive sound. His recordings with Stax merged R&B, soul and funk. He was best known for his high-energy stage performances, which often included his signature dance moves and eye-catching wardrobe.
A WATTSTAX HIGHLIGHT: A high-energy appearance by Rufus Thomas, backed by Con Funk Shon, was one of the memorable parts of the WattStax, a benefit concert at Los Angeles Memorial Coliseum on Aug. 20, 1972 .
Thomas’ talented children, Carla and Marvell, left an indelible mark on the music industry during their time, initially at Satellite Records, which would become Stax Records in 1961.
Marvell was the first piano player at the label and would appear on scores of classic tracks as a musician and later, producer. Carla, known as the “Queen of Memphis Soul,” brought her emotive voice to classics like “Cause I Love You,” a duet with her father as Rufus & Carla, which went up the regional charts. It also gained the attention of Atlantic Records which would sign a distribution deal for the single, ultimately selling more than 30,000 copies, thus providing vital cashflow to keet the burgeoning label up and running.
Carla followed with her first national hit, “Gee Whiz (Look at His Eyes),” which reached No. 5 on the R&B chart and No. 10 on the pop chart in 1961. It was also the first hit recorded — and initially released — at Satellite.
A younger daughter, Vaneese, would make her debut as a five-year-old on Carla’s “A Boy Named Tom” in 1964. She later become a solo artist, but also recorded or toured with everyone from Luthor Vandross and Bob James to Eric Clapton, Melba Moore, Freddie Jackson and Sarah Dash.
Rufus Thomas’ influence is wide. His “The Breakdown” and “Do the Push and Pull” no doubt rubbed off on artists like James Brown, George Clinton and Prince, who all incorporated elements of his style into their own music and performances.
Did you know that Hispanic Heritage Month is celebrated in the United States Sept. 15-Oct. 15?
It was introduced in 1968 by California Congressman George E. Brown to recognize the contributions of this community to the U.S. and there’s no surprise that music plays an important role.
The Sept. 15 edition of Prof. Lay’s Friday Class kicked-off the celebration by showcasing Costa Rica.
Listeners were treated to an in-depth overview of Costa Rica’s culture and history. Discover how the country got its name; what are some of its most popular dishes; and why it was declared the “happiest country in the world,” according to National Geographic.
Prof. Lay even had a legend or two to share and there was a great selection of music, reinforcing why Costa Rica’s motto is “¡Pura vida!” (Pure life!).
The band just released their new album, Art Dealers (Contender), and are performing at The Space Ballroom in Hamden on Sept 12. Tickets will be given away during the program.
The band, which formed in 2010, hails from Philadelphia and has released eight albums. Their latest effort was three years in the making and features a wide variety of songs and styles, including the debut single: “Are You Gonna Run”. The new release is dedicated to Lou Reed, a long-time influence for Weiner.
Weiner talks about his inspiration for that song and his songwriting process in the interview with Devo. He also talks about some is his favorite spots in Connecticut and his love of record collecting.
During the pandemic, Weiner produced Tough Cookies — a weekly livestream concert and podcast — which included interviews with fellow musicians. He also has a new concert film and documentary, Art Dealers, that will begin being shown this fall.
Recorded in 1973 at Shibuya Kokaido in Tokyo, the line-up includes Damon Harris and Richard Street who had joined the group in 1971 following the exit of founding members Eddie Kendricks and Paul Williams.
The LP was initially only released in Japan and England, but not the United States. In 2004, a remaster, limited-edition version was made available to the U.S. and rest of the world, but only 5,000 copies were printed.
Of the 12 tracks on the record, one of the most notable was the performance of “Papa Was a Rollin’ Stone” which featured a noticeably different arrangement than the single which came out following the release of All Directions in July 1972.
Oddly, the Shibuya Kokaido hosted the Tamla-Motown Festival in 1968, featuring Stevie Wonder and Martha Reeves and the Vandellas.
When Dean Farrell hosts The Soul Express, he likes to say that he plays “1960s and ‘70s-era soul music — everything from No. 1 hits to long-lost obscurities.”
On Aug. 12, however, the emphasis will be decidedly on the obscure stuff as Dean pays tribute to what he calls “Flip Side Soul”.
The program airs 2:30-5:30 p.m. Click here to listen live.
The feature will include flip sides of million-selling classics like “”Nowhere to Run,” “My Guy,” “Rescue Me,” “Ooo Baby Baby,” “Uptight (Everything’s Alright),” “When a Man Loves a Woman,” “Ain’t Too Proud to Beg,” “Sunny,” “Respect,” “Higher & Higher,” “I Heard It Through the Grapevine,” “Dock of the Bay,” “Everyday People,” “Too Busy Thinking About My Baby,” “War,” “Groove Me,” “Mr. Big Stuff,” “Let’s Stay Together,” “I’ll Take You There,” and “Lean On Me.”
This program will prove that if you bought 45 RPMs and never played the flip sides, you missed out!
His writing has appeared in The New York Times, The Village Voice, JazzTimes and The Nation. He is currently a lecturer in the Department of English and Comparative Literature at Columbia University.
Here’s the interview.
Saxophone Colossus is slated to be published in paperback on Nov. 14.
Brothers and Sisters by The Allman Brothers Band captured the Phoenixlike group at a new creative high when it came out 50 years ago, but it would end up being so much more.
Check out the archive, while the playlist is here.
Paul — a seasoned music journalist who has written extensively for Guitar World, The Wall Street Journal and Billboard among numerous other publications — unravels the intricate story behind the album that helped change the course of rock history.
It’s his second Allmans book following One Way Out: The Inside History of The Allman Brothers Band (St. Martin’s Press) in 2014. In 2019, he and Andy Aledort co-wrote Texas Flood: The Inside Story of Stevie Ray Vaughan Band (St. Martin’s Press). Each book was a New York Times bestseller.
More than 7 million copies of the album were sold and the Allmans enjoyed chart success they would never again equal, but it also impacted the music industry, social fabric and even the political landscape of the country.
The burgeoning “southern rock” genre was elevated by the massive AM and FM exposure of Brothers and Sisters which went to No. 1 on the Billboard chart for five weeks, boosted by “Ramblin’ Man” which was the band’s lone Top 10 single, reaching No. 2 on the Billboard Hot 100. The second single, “Jessica” went to No. 29 on Billboard’s Easy Listening chart and No. 65 on the Hot 100.
Band members have roundly disliked the category the band has long been associated with. Guitarist Dickey Betts once told a writer: “we’re just a progressive rock band from the south.”
One person who benefitted from the Allman’s new star status was Jimmy Carter, the then-governor of Georgia who enlisted the band to help him raise money to fund his long-shot presidential campaign in 1975.
The success of the album thrust the band into the national spotlight and far eclipsed any sales or chart appearances from their previous studio efforts with only At Fillmore East – the renowned double live album captured from four 1971 appearances at the fabled New York City venue — reaching No. 13, but not hitting platinum status until 1992.
This all came after the band was at an all-time low as it was still reeling from the death of its true leader and visionary, guitarist Duane Allman who was killed in a motorcycle accident less than four months following the release of At Fillmore East. Bassist Barry Oakley would die in a motorcycle accident a year later. They were each 24 years old.
The book takes the reader behind the scenes, offering an intimate perspective on the band’s triumphs, challenges and the creative process behind this groundbreaking record. Dive into the vibrant tapestry of the ’70s music scene as he delves into the band’s journey, exploring their unique blend of rock, blues, jazz, soul and — as evidenced by Brothers and Sisters — country.
In addition to tracking through Brothers and Sisters, the feature will include outtakes from sessions the band did during that period of time as well as well as live material from across the Allman’s career. A number of tracks by groups influenced by the Allmans will also work their way into the playlist.
Last month on The Soul Express, Dean Farrell presented three hours of long tracks. Since he was unable to get to a lot of the songs he wanted to play, he’ll revisit the theme on July 15 with “Extended Jams, Part 2”.
The program airs 2:30-5:30 p.m. EDT. Click here to listen live.
While Dean isn’t revealing what he plans on airing, sources say they know of 13-minute instrumentals by War and Sly & The Family Stone, along with a monster 19-minute James Brown track!
Other featured acts include Stevie Wonder, the Dells, the Three Degrees, the Temptations, Ike & Tina Turner, Fred Wesley & The JBs, Aretha Franklin, the Isley Brothers, Kool & The Gang, Stevie Wonder, B.B. King, Enchantment, the Undisputed Truth, and more.
