Do not care if posted before unless Subnet says otherwise. Happy Friday.

Today, we finish our James Brown Saga! We started with someone James Brown liked, and we finish with someone James Brown...at one point in time hated: Joe Tex.
If you liked '60s style R and B, Joe Tex was probably a go to for you. This is from his 1972 album, but it typifies his style of music:

Throughout the '60s we see that R and B is used for romantic ballads, but Joe Tex kept his music a bit more uptempo than was commonly done. It was pretty close to dancing speed in beats per minute.
This was a big hit for Joe Tex from the same album as above:
and then he retired!
He had reverted to Islam in '66. No idea what prompted that other than a huge incident between him and James Brown. One that involved gun play and some people were injured. There was bad blood between the two men. Brown had been dating Tex's ex-wife. When they broke up, Brown wrote a letter to Tex telling him (Tex) he could have his wife back as Brown was done with her.
At a concert where Tex opened for Brown, Tex came out wearing a torn cape and did a parody of Brown's use of the cape when Brown would end a show. Tex rolled around on the stage floor screaming, "Help me! Help me get out of the cape!"
Anyway, here's the hit from 1972, and the song that follows is from 1978 when he returned to show biz after the leader of the Nation of Islam died:


Joe Tex would meet a sad end in the early '80s.

Next up a few early '70s huge hits that will put some zing in our zang!!!!
The Chakachas - Jungle Fever;

Manu Dibango - Soul Makossa:
Actually, the album is worth a Listen:
Roger Whittaker - The Last Farewell with a video done by a fan, and I need to find this island:

It was 23OCT82 the first time I heard the Underground album in it's entirety. I had just gotten to Zweibruecken AB a few hours before, and they put me in the 26th EMS barracks because they had a room open there. (I wasn't in that squadron.) The guys next door to the room invited me in and proceeded to teach me about the beers available in the area in hopes that I don't ever embarrass anyone stationed there. And, they played this album in it's entirety. Good thing I was a SAC trained killer!! The beer was way more potent than what I was used to!!

Get the funk outta my face
Was in the movie "mother, jugs, & speed"

Yo!
Today we have Taj Mahal. I don't know why he named himself after a building in India, but I do know that if the US had something akin to the Japanese concept of "National Treasure," this guy born in Manhattan during WWII would be one. But, alas, since as far back as when I was in grade school, American Culture = Bad. Thanks NPR!
A few statements about Taj Mahal. He grew up listening to all sort of styles of music in New York City, and there was a lot of different styles of music from what was Tea Room, Ball Room, Popular, Operatic, Broadway musical, commercial jingoes of Madison Ave, to what those Big Band music that those jitter-bugging kids were dancing to, and then the multiple styles of "Jazz" that came out of New York City in the '40s and '50s. All of that in one City.
I forgot his real name, but young "Taj" didn't just listen, he studied and learned music and instruments then and now, and will continue until his last days. Last thing he was doing is Hawaiian Music. Not just playing a Don Ho song here and there, but studying the history of the instruments, the musicians and the musical styles to create his own original works. Trust me as I write "we're lucky to have him."

We have 15 clips in three groups of Five. First Group is typical Southern US period music from the last part of the 19th Century to the 1920s. Second Group is various styles from the Caribbean. If someone from NPR was doing this, they would just say "afro-cuban" because those people are really into interracial porn. As a counter-point to that term, my Dad is from down that way, and there the music is referred to whether it's based on native Indian fold music, or Spanish, French, or Dutch Caribbean, or if it came from where the "English held steadfast against all odds." (That's pretty distinct music compared to the rest of the Caribbean.) And Last, but definitely not least, New York City Jazz type music. This is was he was working on during the '70s. I also want to point out that New York City Jazz elements are in almost all of the songs. That's what makes this guy cool, in my opinion. The "Golden Age of Jazz" is the correct name for the '40s through mid-'60s. Good Stuff!!

The last song of this group is thematically similar to the previous song "Why Did You Desert Mr?" They're from separate albums. Artists sometimes re-record songs with changes to make what they consider an improvement in one aspect or another. No idea if that's the case here, I just really like the structure of the song, and get to post it twice. Win-Win!!

I hope that there's at least something for everybody in these 15 clips!!! But, allow me to suggest that they are worth your time listening to them when you get the chance.

American Rock and Roll. Is there anything finer? Sure, England produced some very good groups, but if you're ever forced to spend time in England because of being in either the Military or prison, Led Zeppelin is more an exception to the rule over there while Alan Price. only after leaving The Animals, is the rule.
First up is Band of Gypsys with Jimi Hendrix, Billy Cox (Bass), and most importantly Buddy Miles on Drums. And to make this even more Rock 'N' Roll, this group only existed to cover a clause in somebody's contract about a record that was owed to management. Ergo, live album consisting of Jamming!!! One and Done, Baby!!!!!!

As I've been looking for video clips of songs for Bands I know, I've been lucky to stumble over new Bands, I never heard of before. Some of them have been great. There was a whole slew of '70s Heavy Psychedelic bands out of Texas that only were ever regionally popular. Had they had competent management, I'm thinking that even Black Sabbath wouldn't have been as popular. I have a folder marked "Palate Cleansers" of such groups.
Here's the first one. They're called "Leslie's Motel," they only recorded one album in 1972, but it was not released until 2009. So, it looks like if you were in Virginia in the early '70s, you might have been exposed! I only recognized one name of the members of the Band, the drummer's. He was with Al Kooper up in New York. The drumming on this album is exquisite and superb. The Band is a bit like if 10 Years After and the Allman Brothers had a kid. It's too bad that whatever happened to Leslie's Motel happened to them. It's worth listening to:

Feeling That Way/Anytime - Journey

Clowns

It's Baba O'Reilly- not "Teenage Wasteland"

Here's a good old fashioned American success story that we don't hear much these days: Norman Whitfield!!! Started out in the mail room at Motown Records and became a Top flight record producer and composer. The Temptations, Marvin Gaye, Rare Earth, The Marvelettes, Rose Royce, and The Undisputed Truth were all groups he produced and made famous. The Hits he wrote are too numerous to post here.

Plan A was just to do a few Hits from the groups for arf's First Annual "Norman Whitfield Day!" But, as I was looking for the video clips on youtube, The Undisputed Truth was way more than I realized. I thought it was just a cover band. I was wrong. It was also an experimental platform for Norman Whitfield who left Motown because he wanted to do more experimental (read that as "psychedelic") music.

First Let's begin our journey with Rose Royce; a group introduced to America for the movie Car Wash. The title song also began the main elements of any disco song that came after it. That in and of itself impressed me because Disco had been mainly a Euro/NYC Dance club thing. From now on, it'll be dominated by the West Coast. (Which is a "shame" that we non-fans still bear!)

Norman Whitfield started moving on to a different sound for Rose Royce over their next, I think Rose Royce did four more albums:

Now on to The Undisputed Truth.
I thought this was just a cover band. They have the best cover, even better than the original, of "California Soul."

The Undisputed Truth covered a lot of Norman Whitfield's music from the other groups he produced and wrote for, so this was all experimental, plus he get more money out of reusing older works. Smart!
But, that's why I stopped paying attention...until I went looking for the video clips. Most of the cover, I can say with accuracy are uptempo, but the melody/lyrical line is slowed down, which even the casual listener can pick up on. It's not really that enjoyable as you're waiting for something to happen, but the only thing that happens is the song ends. I picked the originals of this group, plus the last two are the same song, on different albums, but were constructed totally differently. I included them here for those that are interested in the nuts and bolts of music. Those will be the last two songs: "Help Yourself."

Moving on we come to some really experimental stuff that was still commercially successful, (but totally unnoticed by me. There was a lot of music in those days.)
@lorazepam posted a Parlement/Funkadelic cut from Maggot Brain pages back, and he included an intriguing comment about "Funk" music. I'm not sure what Funk music is. There was a sub-genre of "Funk" in New York City Jazz world in the late '40s to very early '50s. That's totally different from what Funk is considered now. I can tell you that Tower of Power was doing Funk starting in the late '60s, but that Joe Tex claimed later on in the '70s that he was doing Funk in the mid-'60s, but that was more uptempo R n B.
Parlament/Funkadelic was doing more or less the same thing until the second part of the '70s. (More from them next week.) They had a radical change to from their early '70s P/Funk mythology to what their music and stage shows became in the second half of the '70s. I think it was due to what the Undisputed Truth was doing. See if you don't agree from listening to some of these songs:

Joe Tex defining "Funk," but having some fun with it in 1978:

Don't forget James Brown and Bootsy Collins.

Snoop Dogg showing respect.

shakedown street

Bonnie Raitt! Today!!!
She's a great vocalist, and really can play the Guitar (it's not a stage prop), plus she's a great Slide Guitarist!! She's also a woman. Her Label wanted someone who was like a Joni Mitchell, or a Carole King, or that tall one that was annoying....it'll come to me...Simon, Carly Simon. They were the Tay Tay, Halsey(?) and Billie Eilish(?) of their day. (I'm not very familiar with today's crop of annoying people. It's probably the only benefit of being old. Besides most people seem more broken today than before, and I do not wish to be a part of their dysfunction.) But, I digress.

If Bonnie Raitt had her druthers, she'd be doing "the Blues," I would think, instead of all those sad songs about nobody loving her. I went through all her albums from the '70s one night last week looking for clips. Damn, that was actually a depressing experience. There was one album where she was getting laid on a semi-regular basis. Hell, she was even the other woman in one song, but by the next album...BOOM, she's right back on the sad vibrator of depressing memories. But, that's what the record label wanted. Bastards. Goldfrapp, from England, writes happy songs about her and her vibrator. Oddly enough, I can listen to those songs all day long. But, I digress.

The Blues, Gentlemen, what are they? I'm very happy you asked, (and remember, the following as always is just my opinion.) I remember when doing school bands, I took a Summer school class on musical subjects. There were a couple of kids that were similar to me being in multiple types of bands, and even a youth symphony orchestra, and with a similar outlook about and on music. We had seen each other around at various venues from about '72 on. Our teachers were all those white liberal NPR types that are so well meaning, they will tell lies to express a greater truth. EXCEPT, for the one guy who was in the Marines during Korea. He was a hard ass, but also the only one worth listening to. But, I digress.

The NPR/Liberal Teacher view of Music History in the US can be condensed as follows: Slaves brought with them drums, the xylophone, the banjo, and created the Blues which led to Jazz, and European music has no rhythm apparently. Otherwise, we would not have had these nice things if it weren't for Slavery.
Being precocious Children, we exhibited a natural curiosity over apparently non-sequitur statements that were delivered without basic evidence. We had questions such as "Why didn't Bach use Time Signatures?," and "did the slave ships have a special cargo hold for the instruments of slaves?," and "what's a Glockenspiel?" (it's a early 16th Cent xylophone from Germany), and " how many strings did the banjo have, and how was it played?"

They had no answers for anything even something as simple as to whether the banjo was strummed, finger picked, bowed or played with the typical feather quill plectrum common of the early days of the 17th to 18th Centuries. We were to accept their bullshit statements for their moral implications because the Black Panthers were being politically oppressed. Fuck the truth! That's a bourgeois value in any event. The good news was that Mr. Marine started to like us, not enough to invite us over to fuck his sister, but we all did start enjoying the time in his class much more.

Getting back to the Blues, where did it come from? Skipping the answers from NPR Interracial Porn Viewers, having the "blues" meant that you were sad to melancholy. The first use of this meaning of the word "blues" is found in a dictionary published in 1785, London, England, not the Southern US. (I can't remember the exact name of the dictionary, but I remember it had the word "vulgar" in the title which means that it was for the language of the common people.) In the US, the "blues" used in the sense described above was found published in news papers, novels  and other books in the Northern States starting from the 1820's on.

The first use of "the blues" in the South happens after the Civil War. The question is why? Was there no music in the South until after the Civil War? Nope! There were two kinds of popular music in the South. There was the citified Music that was dignified for the good rich people that offended no one at social occasions, and then there was the countrified music of the poor, both white and black.

The Poor of different colors played the same structured music with the same instruments using the same techniques. And the lyrics described the lives of the poor with their drinking, fighting and sexual activities. Again, this was common with both the whites and the blacks and very offensive to the citified rich.

With the Confederacy losing the Civil War, but the Democratic Party still in charge and with the help of Progressives everywhere, Job 1 is to keep the races separated. Seeing or hearing that Clem Otis and the Turner Boys were going to be playing on Mason's field at 3 on a Saturday did not give enough information to anyone interested in going to the show. After all there was a secret organization organized and funded by the Democratic Party, I know I don't have to say the name, to prevent the co-mingling of the races.

"The Blues" was originally known as the Country Blues, and again was played by both white and black using the same instruments playing the same musically structured songs. Lyrical content differed, but not by much as only one race always had to look over its collective shoulder. However, the point was that the races needed to be separated both because of Democrat politics, but also because of Progressive ideology regarding their view of Science and race mixing. Same sort of people as now, but then with a different agenda.

If Clem Otis and the Turner Boys were playing "Country Music" on Mason's Field and only the Whites show up, there'll be no need for a nocturnal visit by the secret organization of the Democratic Party. If Clem Otis and the Turner Boys  were playing "Country Blues" or just "the Blues," no whites will show up in order to avoid a nocturnal visit by the secret organization of the Democratic Party. In effect, Country meant Whites only while Blues meant Blacks/Coloreds only. Learn this one simple trick, and you won't be murdered in your sleep.

Again, the colors of people were playing the same structured music. Over time, it became standardized to a 4-4 Time Signature, a progression of three chords, I-IV-V, in a standard 12-bar repeated pattern by the 1920s. Recording of the music and then having the music transcribed aided the standardization.

Western Music was the same as country pre-civil War music in its structure. Different in lyrical content, but also influenced by the use of the Spanish guitar and the techniques of playing the Spanish guitar, plus a different style of soloing. (This fact made a "logical" reason for the Nashville Mafia to amalgamate and homologate, in 1949, Western music into Country music. Great! Unless you're a Western Music  Fan, then you'll like Country music, or you'll like nothing.) Originally, it all came from the Scotch-Irish settlers and the other Celts of Western England, but it all evolved here in the US as people listened to each other. Just the simple act of listening to someone else spurred on creativity or mimicry in others.

As for the claim that the Blues leads directly to American Jazz, that's just as much bullshit as everything else these clowns say. The American victory over the Spanish in the Spanish-American War had the greatest effect of creating American Jazz. First, the word Jazz is just a word. It's used to cover a lot of different styles. It's also a code word for "Negro." That's the real importance of the word.
Second, the "Free Jazz" of this period in New Orleans is remarkably different from any American music previous to it. But, it was similar to the to the Flamenco of the time throughout the Hispanic countries in the region where in guitarists played improvisations off of each other, as did the vocalists with the other vocalists, and as did the Dancers with the other Dancers.

With Victory over the Spanish, people were free to travel between New Orleans and Cuba, and between New York City and Puerto Rico. This interaction is the beginning of American Jazz. Americans were listening to music with different rhythms and different chord progressions. It also went the other way into the Spanish Caribbean. The only famous song from Cuba, as far as Americans are concerned is "Guantanamera." It went through a lot of different forms until it was standardized based on the typical American style of popular music in 1949. For example, If you didn't understand Spanish, you would never recognize a 1920s' version!! But, again, I digress!

Bonnie Raitt would have been very happy to just play the Blues as she saw fit. Plus, I would have been able to find music she did in the '90s with her slide guitar solos back in the '70s, and we would all be better people for it.

ETA: Apologies about the color change!! I only wanted the blue for one sentence. I tried three different ways of editing the "what you see is probably not going to work out the way you want it to" editor. Again, Apologies.

ETA 2: Corrected all my grammatical errors. I swear I really did go to college!!! And I tried to correct the color again. Now, to see if it works!

ETA 3: Damn! I'm so close with the color!!!!!

I believe that Monsignor will find what he is looking for near the bottom of the previous page, page 17: https://www.ar15.com/forums/General/The-1970-s-were-a-very-special-time/5-2537160/?page=17

ETA: welp, that didn't work out the way I wanted to. I was hoping the link would be at post 47, but not today!!!!!

PFunk!!!!!
Wow! There's got to be at least 170+ songs studio recorded songs between the Funkadelics, Parliament, and Brides of Funkenstein. I decided to cover all the bases (Eddie Hazel fans, Collins Brothers fans, Maceo Parker fans, Fred Wellsey fans, Bernie Worrell fans and George Clinton fans), We should do a chunk of music at a time over the next few weeks.
Quick History Time!
Clinton started his professional music career in the 1950s. In time, he had Parliament as a vocal group backed up by a band called Funkadelics. It will get harder to keep things separated over the next couple of decades until it all crashed down around him. The acid that Clinton continually took didn't help just in case anyone was wondering about that. Suffice to say, there were at least three labels involved, probably more, and people used different names on different albums or went uncredited in the recording session.
Let's start withe first couple of years of the '70s:

Some may notice a similarity with the music with the Temptations. Norman Whitfield was doing a lot of experimenting with the Psychadelic style of Rock. Still others may notice a similarity with Frank Zappa and the Mothers of Invention.

Jaco Pastorius! The Man who changed our perception of what the Bass can do in a song.
A lot was going on during this time just in terms of experimentations with guitars and basses. I can't remember his name, but the guitarist for Cold Blood, a band we've covered pages back) was creating electric guitars in different tuninigs, neck lengths, and fret placements, for example. Basses were going through a similar process in that strings were going from flatwound to roundwound and coming preamped. A lot of changes were going on and "Jaco" was there with his natural ability to take advantage of the Time.

Old joke time:
60 years ago a team of Anthropologists were hiking into the jungle in Central Africa. They had a team of natives carrying their equipment when all of a sudden, all began to hear the drums!
One of the doctors asked one of the natives, "what do the drums say?" The Native responded with "when the drums end...very very bad."

They go on and the Drum beat speeds up, and the Doctor looks at the Native and the Native says, "when the drums end very very bad."

They go on more and the Drums speed up even more, then STOP!!!

The Natives drop the equipment they were carrying and run off screaming. The Doctor yells at the Native, "what's happening?!?!?"

The Native turns back to the Doctor and say, "Bass Solo!!!!!"

That's what is was like before Jaco Pastorius. Now with the different kinds of basses available, and people treating the bass like a guitar, Bass Solos are safe!!!

This could be a hint as to somebody coming up?

This last clip is a concert in Switzerland with Weather Report. It's over an hour long just in case that's a concern.


ETA: I brilliantly forgot to add at the top of this post that this the top three clips are the Jazz World's version of psychedelic rock. The main difference is that in rock all the instruments go off in the same direction, but with harmonies and melodies "weaving" around each other, while in Jazz, the separate instruments go off separately and then come back "smashing" into each other in some sort of coherency before separating again. It's a wash, rinse, repeat cycle of music. That would have been good information to have earlier!! Apologies, but it looks like you're getting what you paid for!!

My favorite decade for good music.

Ian Hunter!!! He's Rock and Roll! Charismatic, but can't sing or can't sing well. He's no Derek St. Holmes! His songs celebrate Rock and Roll. Also, he does kind of, sort of ballads. Some are posted here. England has a Country Music scene, but it mimics Nashville. If England ever ends up with it's own Country music, Ian Hunter will be its Father.
DrywallDweller posted "All the Young Dudes" earlier in the thread, but I couldn't find it to quote it here, so I'll re-post.

Which one rocks more, England or Cleveland?????

Even more from the World of P/Funk!!! We're almost up to 1974!!!!!! That's the year for the return of Parliament (today's is from 1971,) but that will be next week!

Hell yeah!

Lou Reed cover ------------ has some killer licks with Mick Ronson and Trevor Bolder...

Both of those are really nice selections!!! Excellent Work, amigo!!!  

Today is Cactus!!! (We'll do more another day as again I was too weak to cut down the list!)

Cactus was supposed to be Carmine Appice, Tim Bogert and Jeff Beck, but Beck got into a car accident in 1970, so they brought in some Detroit Muscle to replace him. Appice and Bogert were from Vanilla Fudge, one of the most awesome groups from the '60s. Cactus is still playing with just Appice and some new guys these days. Everybody else is kind of dead, but they've managed to put out just as many albums in the last 15 years as they did in the first 5 years. So, there's that. I also thought it might be cool, or even neato, to compare Cactus to the World of P/Funk from the same years. To my, in my humble opinion, there's only the difference of distortion, and 4 guys versus 6 to 8 guys.
Please to enjoy:

Yes they were. Attached File

There was a lot of good racing going on. You could still be a "privateer," and have a good chance at winning an event. But, then the governing bodies started changing rules to address "concerns" outside of actual racing, for example, mufflers on some tracks while IMSA promulgated rules that favored turbo charged cars over natural aspirated for reasons that did not compute in my high school mind. (They made the NA cars weigh a lot more.)

Still, a Trans Am race at Riverside or Laguna Seca or Sears Point was worth the drive to watch!! And Fremont International Speed Way was a great track to go!!!

Moar Castus!
The successful New York band was "in your face" at all times. But, they shined with the "jamming" aspect of the live concert. In effect, the song was just the "vehicle" for the improvised soloing that took place. This was something that was shared with the World of Jazz: Jamming or the Jam.
The basic 4 to 5 minute song would be stretch into 15 minutes through different movements for more soloing opportunities and the bringing out of special guests. A good 70% to 80% of the people were stoned on one thing or another in any event, so it all kind of went together.
Oddly enough, there were not many nationally successful bands from New York as compared with Los Angeles. Not sure why that would be. Richard Belzer had a joke that New York was 3 hours and 5 years ahead of LA. To a large extent that's true. Disco started in New York maybe 3 years before the West Coast. Oh well. More Cactus which will be finished up with live performances, so you can experience "jamming." Everyone should. That way you can know if you like it or not. LOL

The live performances are starting easy: a couple of live songs, then it's like going to a a stadium. Start out slow just to see if you can handle it.

grateful dead
china/rider

grateful dead cornell 5/8/77
Scarlet/Fire