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The 2001 film Ghost World opens with the female protagonist dancing along with this scene as she watches it on TV.
The scene is originally from the 1966 Bollywood movie Gumnaam. Mohammed Rafi was one of India’s most famous playback singers, a singer whose voice is prerecorded for use in the movies. His voice graced over 70 Bollywood films including this clip.
Hailing from Cameroon, Africa, Manu Dibango established himself as an in-demand saxophone player working with acts as diverse as Fela Kuti, Don Cherry, The Fania All-Stars and Sly and Robbie.
“Soul Makossa,” Dibango’s signature disco smash, was originally released as the flip side to the 1972 single “Mouvement Ewondo” on the French independent Fiesta record label. The song probably would have sunk without a trace if it had not been for Manhattan socialite David Mancuso.
Mancuso was known for throwing exclusive invitation-only loft parties in New York City that served as a precursor to the city’s thriving Disco scene of the 1970s. Mancuso found a copy of the record and gave it a spin at one of his parties where it was heard by DJ Frankie Crocker, who in turn played it on WBLS, New York City’s highest rated urban radio station.
The song became very popular, but the single was so rare that nine cover versions sprung up to fill the demand for the record, before Atlantic Records could rush-release Dibango’s original recording in 1973. As a result of the cover versions, Dibango’s recording only climbed up to #35 on the Billboard singles chart; however the chart position didn’t realistically reflect the enormous popularity of the single.
Later, the song’s “ma-ma so, ma-ma-sa, mako-mako-sa” refrain was featured prominently in Michael Jackson’s single “Wanna Be Startin’ Something,” the lead track from his Thriller album which went on to be the biggest selling album of all time. It was used without Dibango’s permission and he later settled handsomely with Jackson for use of the lyric.
Dibango released an updated version of the track in 1994, and then again in 2011 under the title “Soul Makossa 2.0.”
My parents married in 1953 and chose Bermuda as the destination of their honeymoon. Like many folks of their era, they came back with souvenirs from their dream vacation. In my parents’ case, they returned with the pregnancy of my older sister, and a souvenir LP by The Esso Steel Band.
The Esso Steel Band began in 1942 as The Tripoli Steel Band which was named for the “Marine’s Hymn” (“On the shores of Tripoli”), and beginning in 1951 the group was led by Hugh Borde.
The steel pan as an instrument rose out of the poorest sections of Trinidad where discarded oil barrels were fashioned into musical instruments, affording the natives an artistic outlet. Once the sound caught on, it became central to the annual Carnival celebration where musicians competed for supremacy on the instruments.
In 1964, the Tripoli Steel Band won the first official Steel Band competition, and the following year, the Esso Oil Company (later Exxon) agreed to sponsor the group which took on the name of The Esso Tripoli Steel Band which was later shortened to The Esso Steel Band.
By 1967, the group was 27 strong and toured the world on Esso’s dime playing at Montreal’s Expo World’s Fair. After Esso dropped sponsorship of the group, they toured for several years as part of Liberace’s show and recorded a Grammy-winning album called Liberace Presents the Trinidad Tripoli Steel Band.
In 1971, Van Dyke Parks rediscovered them and took them into the studio to record an album for Warner Bros. Records including covers of then-current pop songs including Simon & Garfunkel’s “Cecilia,” The Jackson Five’s “I Want You Back” and today’s Song Of The Day, The Kinks’ “Apeman.”
The group splintered in 1976 after Borde relocated his family to the United States, however a new version of the group was organized by Borde’s son Emile, recording the album Momentum in 1985. The group performed well into the 2000s.
Most recently, Parks had the group re-record the song “Aquarium” from the 1971 Warner album for his latest release Songs Cycled.
Like Tito Puente before him, Ray Barretto is one of the all-time greatest “Soul Drummers” of them all. He gave us the “El Watusi” in 1961, “Senor 007” in 1969 and this gem in 1967. The music emanated from el barrio, the South Bronx and Spanish Harlem in New York City, via the then-fledgling Latin record labels like Tico and Fania. Like Rap music in the early 1980s, this music sprang up from the streets and changed the world forever.
Ray Barretto was born in New York City and cut his teeth playing conga with Charlie Parker, José Curbelo and Tito Puente. He replaced Mongo Santamaria in Tito Puente’s band in 1957 and stayed on for four years before working with Herbie Mann. In the early 1960s, he was also a member of the house band for the Prestige, Riverside and Blue Note record labels.
In 1961, Barretto released his breakthrough single “El Watusi,” which captured the sounds of the New York City streets and transported the Latin sound out of the barrio and into the public consciousness. “The Watusi” kicked off a national dance craze and was just one of a handful of recordings by the likes of Willie Colón, Joe Cuba (“Bang! Bang!”) and Mongo Santamaria (“Watermelon Man”) that resulted in introducing a new popular crossover genre in Latin dance music known as Boogaloo.
In the wake of “El Watusi’s” success, Barretto struggled to chart with a follow-up hit. However, he did become an in-demand session player and worked on Jazz albums by Gene Ammons, Cannonball Adderley, Art Blakey, Kenny Burrell, Art Farmer, Dizzy Gillespie, Herbie Mann, Yusef Lateef, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader and Weather Report. He also sessioned on rock albums by The Rolling Stones (congas on “Sympathy For The Devil”), Average White Band (Cut The Cake album), Bette Midler (her debut album) and The Bee Gees (Main Course album).
Barretto finally gained his commercial footing after signing with Fania Records in 1967 and releasing the album Acid where today’s Song Of The Day originally appeared. The album combined the sounds of Latin, funk and soul music and included the influential tracks “A Deeper Shade Of Soul,” “Teacher Of Love” and “El Nuevo Barretto.” During his seven year stint with Fania, Barretto released nine successful albums, became the director of The Fania All Stars, and established himself as one of the leading players in Salsa music.
Barretto continued to release popular albums throughout the 1980s including the Grammy winning album Ritmo En El Corazón he recorded with Celia Cruz.
On January 13, 2006, he was awarded the Jazz Masters Award by the National Endowment for the Arts which was a distinction for lifetime achievement. He suffered a heart attack two days later and underwent several heart surgeries before succumbing to his illness on February 17, 2006.
After years of dormancy and total disregard, the Fania label was reactivated with a comprehensive reissue program through Universal Music in 2007, resulting in the essential 2-CD compilation Ray Barretto Que Viva La Musica (Ray Barretto: A Man And His Music).
Song of the Day by Eric Berman – The Jukebox Series #37 – Jose Feliciano: “Light My Fire” b/w “California Dreamin’” – RCA Victor 45 RPM Single 47-9550 1968 (P4/Q4)
Two songs from the 1960s that are unquestionably classics today…and Jose Feliciano had a hand in making them so…
The Doors’ “Light My Fire” topped the US charts in July of 1967, at the height of the Summer of Love. Along with Iron Butterfly’s “In-A-Gadda-Da-Vida,” It became one of the most covered songs by bar bands of the late 1960s. A year later, the song found its way again on the pop charts peaking at the #3 position as covered by Jose Feliciano as the A-side of today’s single.
Song writer Robby Krieger said in an interview about the cover: “It’s really a great feeling to have written a classic. I think I owe a big debt to Jose Feliciano because he is actually the one, when he did it, everybody started doing it. He did a whole different arrangement on it.” (Wikipedia – James, Gary (1994). “Interview With Robby Krieger”. Classic Bands. Retrieved January 18, 2011.) Feliciano’s version won two 1969 Grammy Awards, for Best Male Pop Vocal Performance and Best New Artist and firmly established him with the American record buying public.
The flip of today’s single is Feliciano’s take on The Mamas & Papas’ “California Dreamin’.” The also song made the rounds as another one of the most covered of its era including versions by Wes Montgomery, The Carpenters, The Four Tops, Melanie, Bobby Womack, Hugh Masekela, The Seekers, Raquel Welch, The Beach Boys , Wilson Phillips, and it still gets regularly licensed for use in film and commercials today.
Puerto Rican born Jose Feliciano was permanently blind from his birth in 1945. As a child he learned to play guitar at an early age and was influenced by classical guitarist Andres Segovia, jazz guitarist Wes Montgomery and Ray Charles for his vocal skills.
Feliciano came up from the same fertile Greenwich Village folk ground as Bob Dylan, Fred Neil, John Sebastian and Joan Baez, and he signed with RCA Victor Records in 1964 to begin his long and legendary recording career. He was a virtuoso Latin guitarist whose early records ran the gamut from traditional Latin tunes and pop hits of the day performed in a crossover folk, pop, jazz and soul bag.
By 1967, Feliciano relocated to Los Angeles. He was already a household name in Latin America and RCA teamed him up with producer Rick Jarrod who had worked with Jefferson Airplane and Harry Nilsson to record the both sides of today’s classic single and the 1968 album Feliciano!
The album is one of the quintessential albums of the late sixties and features near definitive versions of often covered sixties classics including Gerry & The Pacemakers’ “Don’t Let The Sun Catch Your Crying,” Bacharach & David’s “Always Something There To Remind Me,” Bobby Hebb’s “Sunny,” Tom Paxton’s “The Last Thing On My Mind” and of course the requisite Beatles covers “In My Life,” “And I Love Her,” and “Here, There And Everywhere.”
Musicians on the record included José Feliciano on guitar, vocals, arrangements, Ray Brown on bass, jazz percussionist Milt Holland, Jim Horn on alto flute, recorder and Harry Nilsson’s production team of producer Rick Jarrod, George Tipton providing orchestration, string & woodwind arrangements and Perry Botkin Jr with song arrangements. The single and album were recorded in November 1967 and January 1968 at RCA Victor’s Hollywood studios.
By 1968, Feliciano’s superstardom from the Grammys, hit records and numerous TV appearances was short lived. Feliciano’s star fell quickly after performing an impassioned and very personal performance of “The Star Spangled Banner” before Game 5 of the 1968 World Series which proved very controversial to many Middle Americans who were never exposed to Latin music. As a result, radio stations stopped playing his records for several years after.
After scoring a surprise hit with his self-penned Christmas classic “Feliz Navidad” in 1970, his career seemed to stall in America, however he has constantly continued to be a strong draw in Latin American countries. During the 1960s and 1970s, he appeared on dozens of TV variety and came back in 1976 with his hit theme from the TV show Chico and the Man. He also composed music for the 1970s TV shows McMillan & Wife and Kung Fu.
Feliciano is a perennial of the summer shed circuit and continues to perform around the world today. His “Feliz Navidad” has become a regularly played as a Christmas holiday staple during the last months of every year. His latest release is a tribute album to Elvis Presley released in 2012 on the Select-O-Hit record label called The King.
“The Jukebox Series” focuses on the 80 records that inhabit my 1963 Seeburg LPC1 jukebox. I’ve had my jukebox (or as I like to call it “the prehistoric iPod”) for a little over 14 years and in that time I’d like to think that I’ve perfected the mix of 45s within.
Song of the Day by Eric Berman – “Soul Drummers” by Ray Barretto
Like Tito Puente before him, Ray Barretto is one of the all-time greatest “Soul Drummers” of them all. He gave us the “El Watusi” in 1961, “Senor 007” in 1969 and this gem in 1967. The music emanated from el barrio, the South Bronx and Spanish Harlem in New York City, via the then-fledgling Latin record labels like Tico and Fania. Like Rap music in the early 1980s, this music sprang up from the streets and changed the world forever.
Ray Barretto was born in New York City and cut his teeth playing conga with Charlie Parker, José Curbelo and Tito Puente. He replaced Mongo Santamaria in Tito Puente’s band in 1957 and stayed on for four years before working with Herbie Mann. In the early 1960s, he was also a member of the house band for the Prestige, Riverside and Blue Note record labels.
In 1961, Barretto released his breakthrough single “El Watusi,” which captured the sounds of the New York City streets and transported the Latin sound out of the barrio and into the public consciousness. “The Watusi” kicked off a national dance craze and was just one of a handful of recordings by the likes of Willie Colón, Joe Cuba (“Bang! Bang!”) and Mongo Santamaria (“Watermelon Man”) that resulted in introducing a new popular crossover genre in Latin dance music known as Boogaloo.
In the wake of “El Watusi’s” success, Barretto struggled to chart with a follow-up hit. However, he did become an in-demand session player and worked on Jazz albums by Gene Ammons, Cannonball Adderley, Art Blakey, Kenny Burrell, Art Farmer, Dizzy Gillespie, Herbie Mann, Yusef Lateef, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader and Weather Report. He also sessioned on rock albums by The Rolling Stones (congas on “Sympathy For The Devil”), Average White Band (Cut The Cake album), Bette Midler (her debut album) and The Bee Gees (Main Course album).
Barretto finally gained his commercial footing after signing with Fania Records in 1967 and releasing the album Acid where today’s Song Of The Day originally appeared. The album combined the sounds of Latin, funk and soul music and included the influential tracks “A Deeper Shade Of Soul,” “Teacher Of Love” and “El Nuevo Barretto.” During his seven year stint with Fania, Barretto released nine successful albums, became the director of The Fania All Stars, and established himself as one of the leading players in Salsa music.
Barretto continued to release popular albums throughout the 1980s including the Grammy winning album Ritmo En El Corazón he recorded with Celia Cruz.
On January 13, 2006, he was awarded the Jazz Masters Award by the National Endowment for the Arts which was a distinction for lifetime achievement. He suffered a heart attack two days later and underwent several heart surgeries before succumbing to his illness on February 17, 2006.
After years of dormancy and total disregard, the Fania label recently reactivated with a comprehensive reissue program through Universal Music in 2007, resulting in the essential 2-CD compilation Ray Barretto Que Viva La Musica (Ray Barretto: A Man And His Music).
Song Of The Day by Eric Berman – The Jukebox Series #59– Manu Dibango: “Soul Makossa” b/w “Lily” – Atlantic 45-2971 (S6/T6)
“The Jukebox Series” focuses on the 80 records that inhabit my 1963 Seeburg LPC1 jukebox. I’ve had my jukebox (or as I like to call it “the prehistoric iPod”) for a little over twelve years and in that time I’d like to think that I’ve perfected the mix of 45s within.
Hailing from Cameroon, Africa, Manu Dibango established himself as an in-demand saxophone player working with acts as diverse as Fela Kuti, Don Cherry, The Fania All-Stars and Sly and Robbie.
“Soul Makossa,” Dibango’s signature disco smash, was originally released as the flip side to the 1972 single “Mouvement Ewondo” (a song about the Cameroon national football team) on the French independent Fiesta record label. The song probably would have sunk without a trace if it had not been for Manhattan socialite David Mancuso.
Mancuso was known for throwing exclusive invitation-only loft parties in New York City that served as a precursor to the city’s thriving Disco scene of the 1970s. Mancuso found a copy of the record and gave it a spin at one of his parties where it was heard by DJ Frankie Crocker, who in turn played it on WBLS, New York City’s highest rated urban radio station at the time.
The song became very popular, but the single was so rare that nine cover versions sprung up to fill the demand for the record before Atlantic Records could rush-release Dibango’s original recording in 1973. As a result of the cover versions, Dibango’s recording only climbed up to #35 on the Billboard singles chart; however the chart position didn’t realistically reflect the enormous popularity of the single.
Later, the song’s “ma-ma so, ma-ma-sa, mako-mako-sa” refrain was featured prominently in Michael Jackson’s single “Wanna Be Startin’ Something,” the lead track from his Thriller album which went on to be the biggest selling album of all time. It was used without Dibango’s permission and he later settled handsomely with Jackson for use of the lyric.
Dibango released an updated version of the track in 1994, and then again in 2011 under the title “Soul Makossa 2.0.” The flip of today’s jukebox classic is “Lily,” another soul groover written by Dibango that is also from the Soul Makossa album.
Song Of The Day by Eric Berman – The Jukebox Series #43 – Chicago II Jukebox EP: “Movin’ In”/”Wake Up Sunshine”/”To Be Free” b/w “West Virginia Fantasies”/”Colour My World”/”It Better End Soon 2nd Movement” – Columbia Special Coin Operator Release Jukebox EP 7-KGP-24 (D5/E5)
“The Jukebox Series” focuses on the 80 records that inhabit my 1963 Seeburg LPC1 jukebox. I’ve had my jukebox (or as I like to call it “the prehistoric iPod”) for a little over twelve years and in that time I’d like to think that I’ve perfected the mix of 45s within.
Jukebox EPs (or extended plays, or tiny albums) were made for the coin operated jukebox market during the 1950s through the mid-1970s. They were small-holed 7” records that played at 33 1/3 RPM and cost 25-50 cents per play. They typically included four to six tracks from an album and afforded the listener at a diner or bar an extended taste of a record by their favorite artist.
Today’s jukebox EP is culled from the second album by Chicago Transit Authority who by 1970 shortened their name to just plain Chicago. The album carried the title Chicago as well, but it is far better known as Chicago II. Although the album spawned several big singles including “25 Or 6 To 4,” “Make Me Smile,” and “Colour My World,” only one of them is present on the jukebox EP that was released to promote the album on coin operated machines.
Chicago’s first three records were all double albums, which was unheard of at the time. Their manager and producer, James William Guercio, had just come off of working with Blood Sweat & Tears and he used his clout with Columbia Records to push the notion of double albums through.
This gave the band featuring Robert Lamm on keyboards, Terry Kath on guitar, Peter Cetera on vocals, James Pankow on trombone, Lee Loughnane on trumpet, Walter Parazaider on saxophone and Danny Seraphine on drums, room to stretch their musical muscle especially on their debut album. By the time of their second release, Chicago began to shorten their tunes and play up the horns, leading them to the dominance of the singles charts they’d have for the rest of the 1970s.
The highlight of the second Chicago album was the suite that took up most of side two called “Ballet For A Girl In Buchannon” which included three songs on today’s EP, “Colour My World,” “To Be Free” and “West Virginia Fantasies.” The Buchannon of the suite’s title was actually a misspelling of Buckhannon, West Virginia.
After the band recorded the suite, they were hesitant to have singles edited from it for release. When the band acquiesced, they ended up releasing two of their most beloved singles, “Make Me Smile” which climbed to the #9 position on the charts in 1970, and “Colour My World” which went two slots higher to #7 in 1971.
“Colour My World” was the slow dance classic of 1970 and has also proven over the years to be one of the band’s best-loved recordings. It was written by trombone player James Pankow and features Terry Kath singing the lead vocals with Walter Parazaider on the flute solo.
James Panko (as told on The Chris Isaac Hour TV show): “It’s a small segment of a multi-movement piece on our second album which is basically a tribute to my first love. I had been listening to Bach – the Brandenburg Concertos, and they had all those arpeggiated melodies. I sat at a piano and started messing around with these arpeggios. That cycle of arpeggios became the foundation of the song. Frank Sinatra called our publicist and said, ‘Ask that kid to write another verse for that song.’ I thought about it, I called him back and said I can’t do it – it’s like sewing another arm on your kid, I can’t do it.”
Other songs on the EP include “West Virginia Fantasies,” an instrumental from the Suite that highlights the group’s compositional acumen; “It Better End Soon 2nd Movement” which was also from the album’s other extended suite that took on the Nixon administration, “Movin’ In” the opening track to Chicago II, “To Be Free” (another instrumental) and the single “Make Me Smile.” The album climbed to the #4 position on the U.S. charts upon its release in 1970.
The band continued to rule the charts throughout the 1970s becoming one of the decade’s biggest hit makers until Terry Kath died of an accidental self-inflicted gunshot wound in 1978 while participating in a game of Russian roulette. The band would never be the same again without him.
This is The 3D RadioActivity 334, I’m your Uncle Marty, and this time we take another look back by playing songs from the artists who we hope have joined a heavenly choir as we have our first show of Summertime seconds, a continuation of Memorial Day remembrance of those we have lost.
Click & listen =>
Or download here:
https://archive.org/download/The3dRadioactivity/3dradio_20160605-MDay16II.mp3
Let me remind you that next time we will continue our summertime seconds series when we revisit earlier show themes with tunes that we didn’t get to when we featured them before the first time around the turntable. We will focus on a perennial favorite as we always need more cowbell! To give me your suggestions, send an email, or with a Like and message on our Facebook page which has links to the archives of all the earlier episodes and graphics in the photo section. As long as you are online, tell your friends to check us out, and be sure to look for us on Groovy Radio dot net. Where all the Great songs go to play, Theacidflashback.com, TuneIn.com, MileHiRadio, and InternetFM dot com, because the best FM radio is now on the Internet.
Thanks for making us part of your plan, and Always Rock On!
“It’s not true I had nothing on, I had the radio on.”
…Marilyn Monroe
Thanks for dialing in, and we will “ear” you next time. Rock On!
“Education is When You Read the Fine Print
Experience is What You Get If You Don’t.”
~ Pete Seeger
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Starting the week of March 23rd, we are going retro – no voice tracks, no safety net – and will be live in the Acid Flashback studios from 10 AM until 2 PM Central Time (11ET, 8 PT). So for folks who have to stay at home during the Covid-19 crisis, you can turn the […]
