The Fame Gang – Twangin' My Thang (Turn My Chicken Loose) 1970

 

The Fame Gang – Twangin' My Thang (Turn My Chicken Loose) | Rare Funk Track Review & History

notes:

If you're a fan of deep cuts and vintage grooves, Twangin' My Thang 

(Turn My Chicken Loose) by The Fame Gang is a track you shouldn’t miss. 

This instrumental funk piece is a hidden gem that showcases the raw, 

rhythmic energy of classic Southern soul.

Released during the golden era of funk and soul, this track captures 

the unmistakable sound associated with Muscle Shoals. Known for 

its tight rhythm section and gritty guitar riffs, the song delivers an

 infectious groove that still resonates with DJs and crate diggers today.

The band behind the track, The Fame Gang, were studio musicians 

connected to the legendary FAME Studios, contributing to countless 

iconic recordings of the era.

credits:

Jesse Boyce – Bass 

Freeman Brown – Drums 

Clayton Ivey – Organ & Piano 

Junior Lowe – Guitar 

Travis Wammack – Guitar 

Mickey Buckins – Percussion 

Harrison Calloway, Jr. – Trumpet & Trombone 

Ronnie Eades – Baritone & Tenor Saxophone 

Harvey Thompson – Tenor Saxophone & Flute 

Aaron Varnell – Alto & Tenor Saxophone 

Rick Hall – produced and oversaw sessions at FAME Studios.

Mickey Buckins – credited as original session producer alongside Hall.

 Tracklist:

A Twangin' My Thang 2:38

         T. Wamack

B Turn My Chicken Loose 2:40

        Thompson, Varnell, Calloway, Eades

link

The Fame Gang – Soul Feud / Grits And Gravy (1969)

 

The Fame Gang – Soul Feud / Grits And Gravy (Rare Funk 45 Review & Audio)

Fame records ‎1969 – P-1458

notes:

The single “Soul Feud / Grits And Gravy” by The Fame Gang features

 musicians drawn from the house band at FAME Studios 

in Muscle Shoals, Alabama.

“The Fame Gang” wasn’t a fixed band in the traditional sense 

it was a studio collective name, so personnel could vary slightly 

session to session. But the names above are the most widely 

accepted lineup associated with recordings 

like “Soul Feud / Grits And Gravy.”

These tracks were likely cut circa 1967–1968, when the rhythm 

section was still operating under Rick Hall’s FAME setup before

 becoming fully independent as the

Muscle Shoals Rhythm Section.

Crédits:

  Roger Hawkins – drums

David Hood – bass

Jimmy Johnson – guitar

Barry Beckett – piano / electric piano

Spooner Oldham – organ

 Producer – Mickey Buckins, Rick Hall

Recorded at Fame Recording Studios

603 E. Avalon Ave.

Muscle Shoals, Ala. 

tracklist:

A Soul Feud 2:25

Written-By – A. Lowe, Jr., J. Boyce

B Grits And Gravy 2:37

Written-By – Varnell, Lowe, Ivey, Brown, Calloway, 

Jr., Boyce, Buckins, Eades

link

Muddy Waters – Same Thing / You Can’t Lose What You Ain’t Never Had

 

Muddy Waters – Same Thing / You Can’t Lose What You Ain’t Never Had (Blues Classic Review)

Chess records 1964 – 1895

notes:

Few artists shaped modern blues like Muddy Waters. Often called 
the father of Chicago blues, his electrified sound helped define 
post-war blues and influenced generations of rock and blues musicians.
In this post, we revisit two essential tracks: “Same Thing” and 
“You Can’t Lose What You Ain’t Never Had” 
timeless examples of his raw, hypnotic style.
Written by Willie Dixon, Same Thing is built on a 
classic blues structure: repetitive groove, call-and-response 
vocals, and a deep electric rhythm.
Originally recorded in the golden era of Chess Records,
 the track showcases:
Driving rhythm section
Minimal but powerful guitar phrasing
Hypnotic lyrical repetition
It later appeared on collections like The Real Folk Blues, 
highlighting its importance in Waters’ catalog.
credits:
Muddy Waters – vocals, slide guitar
Willie Dixon – bass, songwriter
Otis Spann – piano
James Cotton – harmonica
Francis Clay – drums

Tracklist:

A        The Same Thing 2:40
Written-By – Willie Dixon

B        You Can't Lose What You Ain't Never Had 2:55

Written-By – McKinley Morganfield

link

Whispering Smith – Mean Woman Blues & Hound Dog Twist 1963

 

 

 Whispering Smith – Mean Woman Blues & Hound Dog Twist Review

 

 excello records 1963

notes:

Few tracks capture the raw energy of 1960s swamp blues like

 Hound Dog Twist by Whispering Smith. Known for his soulful 

harmonica and gritty vocals, Whispering Smith crafted a sound that 

still resonates with blues enthusiasts today. Hound Dog Twist 

showcases his ability to blend catchy rhythms with the emotiona

l depth that defines swamp blues.

Released in the vibrant era of regional blues hits, this track highlights 

Whispering Smith’s talent and the unique charm of Louisiana-style 

swamp blues. From the driving harmonica riffs to the infectious groove, 

Hound Dog Twist remains a must-listen for anyone exploring 

the roots of American blues.

credits:

Moses Smith, vocal, harmonica 

Ulysses Williams, guitar

Ernest Ambrose, bass 

Sammy K. Brown, drums

rec. January 1963 in Crowley, LA; 

tracklist:

A Mean Woman Blues

Written-By – West*, Smith*

2:26

B Hound Dog Twist

Written-By – West*, Smith*

2:02

 

link 

Cash McCall – “I'm In Danger - S O S 1967

 

Cash McCall – “I'm In Danger / S O S”: Classic Soul Single Review & History

 Checker records 1967   1184

notes:

Cash McCall was a standout figure in 1960s soul and R&B, known for his

smooth vocals and heartfelt performances. Originally a gospel singer, 

McCall transitioned into secular music, delivering a string of memorable 

singles that captured the emotional depth of the era. His music remains 

influential in soul circles, celebrated for its authentic storytelling and timeless grooves.

Released in the mid-1960s, “I’m In Danger / S O S” showcases McCall’s raw 

talent and emotive delivery. The single paired two powerful tracks, 

both demonstrating his knack for conveying vulnerability and urgency.

“I’m In Danger” explores themes of heartbreak and longing, 

with McCall’s soulful voice layered over compelling instrumentation.

“S O S” delivers an urgent plea for help in love, highlighting 

McCall’s ability to connect deeply with listeners.

This release became a cult favorite among soul aficionados 

and is still celebrated for its authentic representation of 1960s R&B.

credits:

Producer,Arranger

    Monk Higgins

tracklist:

A I'm In Danger 2:36

        Higgins, Newsome, Dollison

B S O S 2:30

        Higgins, Dollison

link

Dayton Sidewinders – “Go Ahead On” (1971)

Dayton Sidewinders – “Go Ahead On” (1971) | Rare Funk Soul Classic

CARLCO RECORDS 1971  

notes:

If you’re into rare funk, deep soul, and crate-digger classics, 

the Dayton Sidewinders deliver a true hidden treasure with “Go Ahead On” (1971).

This track perfectly captures the raw energy of early Dayton funk, 

a scene that would later influence legendary acts like the Ohio Players and Zapp.

The Dayton Sidewinders were active in the late 1960s and early 1970s,

 part of the first wave of funk bands emerging from Dayton, Ohio. Led by 

Carl Cowen, the group released several independent singles on their own Carlco label.

“Go Ahead On” was released in 1971 as the B-side to “Phoenix,” and like many 

regional releases of the era, it became a collector’s item over time

credits:

Carl Cowen (baritone saxophone, tenor saxophone, trumpet), 

Harold Smith (tenor saxophone), 

Franklin Woods (tenor saxophone), 

Calvin Hurvey (trumpet), 

Howard Burnley (trumpet), 

Paul Brooks (guitar), 

Stanley Brooks (drums), 

Dean Hummons (keyboards), 

Alton Brown (bass)

Also Known As

Ra & the Rhythm Kings

Formed

Dayton, OH, United States

tracklist:

A Go Ahead On

 Written-By – Cowan*, Hummons, Smith

B Phoenix

 Written-By – Webb*

link

 

 

 

The Bo-Keys Writing On The Wall

The Bo-Keys – “Writing on the Wall” Review  Memphis Soul Revival Masterpiece

Electraphonic Recording ‎– ER-108

 notes:

If you’re searching for authentic Memphis soul, few modern bands 

capture the spirit better than The Bo-Keys. Their track “Writing on the Wall”, 

featuring legendary vocalist Percy Wiggins, is a perfect example of 

how classic soul continues to thrive in the modern era.

A True Memphis Soul Sound

Formed in the late 1990s by producer and bassist Scott Bomar, 

The Bo-Keys were built to preserve the legacy of Memphis labels

 like Stax and Hi Records. Their music blends veteran session 

musicians with younger talent, keeping the groove alive while staying authentic.

“Writing on the Wall” reflects this mission perfectly, delivering a warm, 

analog-style production with tight horns, deep grooves, and emotional vocals.

The Song: “Writing on the Wall”

Originally released as part of the Electraphonic Singles series,

the track stands out as a mid-tempo southern soul gem.

credits:

Percy Wiggins – lead vocals

Scott Bomar – bass, bandleader

Skip Pitts – guitar (famed for the “Shaft” wah-wah sound)

Charles “Skip” Pitts – often credited interchangeably with Skip Pitts

Charles Hodges – organ

Archie “Hubbie” Turner – piano / keyboards

Howard Grimes – drums

Ben Cauley – trumpet

Art Edmaiston – saxophone

Kirk Smothers – saxophone

tracklist:

A Writing On The Wall 3:30

written by Bomar, Franklin, Grimes

B I'm Still In Need 3:30

written by Franklin, Bomar, Grimes, Wiggins

 

link

 

 

 

Soul Runners – Green Thumb & What Can I Say

 

Soul Runners – Green Thumb & What Can I Say (Rare 60s Soul Classics Review)

Patches records 1970  – P-101

notes:

The Soul Runners remain one of the most underrated acts 

of the 1960s soul scene. Emerging from Los Angeles, the group

 helped shape the transition from classic soul into early funk, 

blending tight rhythms, punchy brass sections, 

and infectious grooves.

Often overlooked by mainstream audiences, the Soul Runners 

are highly respected among rare soul collectors, DJs, and crate 

diggers. Their recordings capture the raw, unfiltered energy of 

a golden era in American music—making them essential l

istening for fans of vintage funk and deep soul cuts.

Core Members:

Charles Wright – vocals, bandleader, arranger

Raymond “Ray” Jackson – trombone

Melvin Dunlap – bass

James Gadson – drums

Bill Cannon – saxophone

Al McKay – guitar

This lineup later evolved into the legendary

Charles Wright & the Watts 103rd Street Rhythm Band

Members like James Gadson and Al McKay went on 

to have major careers in funk and soul

The group operated as a tight studio and touring unit,

 so some recordings may include additional session musicians

    Producer – John Herron , Juddy Phillips

tracklist:

A        Green Thumb
Written-By – Pete Wyant
2:34
B        What Can I Say
Written-By – Pete Wyant
2:53

link

 

 

The Mar-Keys Non-Album Singles (1960s Soul & Stax Rarities Guide)

 

The Mar-Keys Non-Album Singles (1960s Soul & Stax Rarities Guide)

notes:

The Mar-Keys were one of the defining instrumental groups 

behind the legendary Memphis soul sound of the early 1960s. 

Closely associated with Stax Records, the band played a crucial 

role in shaping the raw, energetic style that would influence 

generations of soul, R&B, and funk musicians.

While many listeners are familiar with their major releases, 

a deeper dive into their non-album singles reveals a treasure 

trove of overlooked gems. These rare recordings highlight t

he band's versatility, tight musicianship, and importance 

within the Stax session scene.

line up

    Guitar: Steve Cropper

    Bass: Duck Dunn, or occasionally Lewie Steinberg (until 1964).

    Keyboards: 

Smoochy Smith (occasionally through 1963) and/or Marvell Thomas 

(frequently through 1963); essentially supplanted by Booker T. Jones 

(with increasing frequency from 1962) and/or Isaac Hayes (after mid-1964).

   Drums: 

Howard Grimes (1961–62) or Terry Johnson (occasionally, 1961–62); 

supplanted by Al Jackson Jr. (from mid-1962).

    Horns:

 varying combinations of Wayne Jackson, Floyd Newman, Don Nix, 

Gilbert Caple, Packy Axton (through 1964), Andrew Love (from 1964).

A Bo-Time   
    S.Cropper  

     
B The Dribble 2:20
Cropper, Axton, Collins, Grimes    

 

link 

A     Bush Bash 2:20
Written-By – Jones*, Newman*, Caple*

B     Beach Bash 2:12
Written-By – Jackson*, Branch*, Cropper*

Link

 A     Banana Juice 2:23
Written-By – Ed Lee

B     The Shovel  2:16
Written-By – Mar-Keys

 

Link

 

 Tracklisting:

A    Whot's Happenin'! 2:25
Mar-Keys, Pukish

B    You Got It    2:05
Newman, Jones

 

link

 

 

Ray Sharpe Help Me (Get The Feeling)

Ray Sharpe – Help Me (Get the Feeling) | 1960s R&B & Northern Soul Classic

ATCO Records 1966  45-6402

notes:

“Help Me (Get the Feeling)” is a classic R&B single by Ray Sharpe. 

Originally released in the mid-1960s, the track blends 

rhythm & blues, soul, and dance-floor energy that later 

made it popular with Northern Soul DJs.

Sharpe, born in Fort Worth, Texas, built his reputation in the 

late 1950s with rockabilly-influenced R&B recordings and 

is best known for his hit Linda Lu.

“Help Me (Get the Feeling)” features musicians connected 

with saxophonist King Curtis and even early guitar work by Jimi Hendrix

 on some recordings, giving the song a powerful groove loved by 

collectors of rare soul and R&B.

Recorded in Dallas,tx.

 July 1966

A King Curtis Production 

 Tracklist

Written-By  Dupree*, Ousley*, Sharpe*

A I Can't Take It  2:15

Written By – Sharpe

B Mary Jane  2:24

Written By – Sharpe

link

Ray Sharpe – I Can’t Take It / Mary Jane 1966

Ray Sharpe – I Can’t Take It / Mary Jane (1966 Atco Soul 45 Review)

 

 ATCO Records ‎– 45-6437

notes:

American singer and guitarist Ray Sharpe recorded the powerful 

soul-rock single “I Can’t Take It / Mary Jane” for Atco Records in 1966.

Best known for the 1959 rockabilly hit Linda Lu, Sharpe blended

 rhythm & blues, Texas blues and garage rock in his recordings. 

The Atco 45 showcases his gritty vocal style and driving rhythm section,

 capturing the raw crossover sound between R&B and early soul 

in the mid-1960s. Ray Sharpe was a versatile singer whose work 

bridged rockabilly and soul, earning cult status among vintage vinyl collectors.

Recorded in Dallas,tx.

 July 1966

A King Curtis Production 

 

 tracklist:

 A     I Can't Take It  2:15
Written By – Sharpe

B     Mary Jane  2:24
Written By – Sharpe

link

 

Otis Redding Live at the Whisky a Go Go (1966)

Otis Redding Live at the Whisky a Go Go (1966): The Soul Performance That Changed Music History

ATCO Records 1968  ‎– SD 33-265

notes:

In April 1966, Otis Redding took the stage at the Whisky a Go Go 

on the Sunset Strip—and delivered a series of performances that 

would change the trajectory of soul music forever.

Over three electrifying nights, Redding introduced his raw Southern 

sound to a predominantly white rock audience, helping bridge 

a cultural divide and laying the groundwork for his crossover success. 

These historic shows would later form the basis of the iconic live album 

In Person at the Whisky a Go Go.

At the time, the Whisky a Go Go was known for hosting rock acts and 

attracting a young, countercultural crowd. Soul artists rarely performed 

there, making Redding’s booking both unusual and risky., Redding delivered 

high-energy sets that captivated audiences unfamiliar with Southern soul. 

His emotional delivery, commanding stage presence, and ability to 

connect with the crowd quickly turned skepticism into admiration.

These performances marked a turning point—not just for Redding, 

but for the wider acceptance of soul music in mainstream (and largely white) venues.

The shows, held from April 8 to 10, 1966, were recorded live, capturing the

 intensity and spontaneity of Redding’s performances. However, the album 

In Person at the Whisky a Go Go wasn’t released until 1968, after his tragic death.

The recording stands out for its raw authenticity. Unlike polished studio albums, 

it immerses listeners in the atmosphere of the venue—complete with crowd 

reactions, improvisation, and extended grooves.

credits:

Recorded over three nights in April 1966, the band was a ten-piece revue 

led by saxophonist Robert Holloway. 

The lineup included:

Guitar: James Young

Bass: Ralph Stewart

Drums: Elbert Woodson

Keyboards: Katie Webster

Horns: A full section including Robert Holloway, Sammy Coleman, and John Farris.

Otis Redding – vocals

Released Oct 1968

Recorded Whisky a Go Go, Sunset Strip, 

Los Angeles, CA, April 8, 9 & 10, 1966

Wally Heider: Recording Engineer (Heider was a pioneer of 

remote recording and operated the mobile truck used for these sessions).

Bill Halverson: Assistant Engineer

Supervised By – Nesuhi Ertegun

Track listing:

A1 I Can't Turn You Loose

Written-By – Redding 4:43

A2 Pain In My Heart

Written-By – Neville 2:11

A3 Just One More Day

Written-By – McEvoy/Robinson*, Redding*, Cropper* 5:07

A4 Mr. Pitiful

Written-By – Redding*, Cropper*

2:07

A5 (I Can't Get No) Satisfaction

Written-By – Jagger/Richards*

4:36

B1 I'm Depending On You

Written-By – Redding*

3:01

B2 Any Ole Way

Written-By – Redding*, Cropper*

2:34

B3 These Arms Of Mine

Written-By – Redding*

3:54

B4 Papa's Got A Brand New Bag

Written-By – Brown*

4:38

B5 Respect

Written-By – Redding*

Link

Mongo Santamaria – Explodes at the Village Gate 1967

Mongo Santamaria – Explodes at the Village Gate (1967 Live Album Review & Tracklist)

 

Columbia records 1967   CS 9570

          

notes:

Few live jazz recordings capture raw energy and rhythmic

 intensity quite like Explodes at the Village Gate, the 1967 

album by Mongo Santamaria. Recorded in New York City at 

the legendary Village Gate, this album stands as one of the 

defining moments in Latin jazz history.

Blending Afro-Cuban rhythms with soul jazz grooves, Santamaria 

delivers a performance that is both hypnotic 

and explosive true to the album’s title.

Released in 1967, Explodes at the Village Gate captures 

Mongo Santamaria at the height of his creative powers.

 Backed by a tight, groove-driven band, he transforms the

 live setting into a powerful rhythmic journey.

This recording reflects the vibrant New York jazz scene of 

the late 1960s, where Latin, soul, and jazz influences merged 

into a new, electrifying sound. Santamaria, already known for

 bridging Afro-Cuban traditions with modern jazz, 

pushes that fusion even further here.

credits:

    Bass – Victor Venegas

    Congas, Bongos – Mongo Santamaria

    Drums, Timbales – Hungria Garcia

    Piano – Rodgers Grant

    Saxophone, Flute – Bobby Porcelli

    Saxophone, Flute, Piccolo Flute – Hubert Laws

    Trumpet – Ray Maldonado

Engineer – Edward T. Graham, Murray Zimney

Producer – David Rubinson, Warren Vincent

tracklist:

A1 Philadelphia

Written-By – M. Sheller*

3:49

A2 Juan Jose

Written-By – A. Echevarria*

3:45

A3 Bloodshot

Written-By – H. Laws*

3:21

A4 Afro Blue

Written-By – M. Santamaria*

10:17

B1 Yes It Do

Written-By – R. Porcelli*

3:10

B2 Mongoettes

Written-By – R. Porcelli*

3:17

B3 Springtime

Written-By – R. Porcelli*

3:50

B4 No More

Written-By – H. Laws*

3:01

B5 Elephant Pants

Written-By – N. Simmons*

3:33

Link