#Jabo Starks

[singeratlarge]

SONG OF THE WEEK: "People Medley: Everyday People + Fishers of Men + One for the Pastor” https://johnnyjblairsingeratlarge.bandcamp.com/track/people-medley-everyday-people-fishers-of-men-one-for-the-pastor-2  ...I share this in advance of Juneteenth, falling this week on the 19th (if you don’t know about Juneteeth I encourage you to look it up). 

Sly Stone wrote “Everyday People” as a plea, proclaiming "I am everyday people" to mean that everyone (band member and audience) should consider themselves as parts of a whole, not of smaller, specialized factions. Rose Stone (Sly’s sister) sang the bridge sections using the cadence of a children's taunt, mocking the futility of people hating each other for being tall, short, rich, poor, fat, skinny, white, black, red, yellow “…and so on and scooby dooby dooby.”

I recorded this in 2000 with a “funk/soul academy” of contributors, including drummer Jab’O Starks, best known for his years with James Brown. He was a prince to work with. I was honored to play 4 gigs with “dueling drummers” Jab’O + Clyde Stubblefield, billed as James Brown’s Funkmasters. During dinners with both men, I soaked up their “war stories” about music, the Chiltlin’ Circuit, and “making it” during the days of segregation. There are many more “back stories” behind this track... 

Personnel:

Pistol Allen: congas

JJB: bass, guitars, keyboards, percussion, lead & harmony vocals

Cassie Blair & Linda Wheatley: harmony vocals

Sir Henry Gibson: percussion

Frank Hakava: bass

Monette Newsuan: harmony vocals, rap, & lyrics on “One For The Pastor”

Jaim Rohm: guitar

Jab'O Starks: drums, shout outs Carl Stevens: saxophone

Pastor Sidney D. Wheatley: shout outs

Tim Breon & Bil Bryant: recording & mixing

#juneteenth #everydaypeople #slystone #slyandthefamilystone #johnnyjblair #singeratlarge #racism #bigotry #funk #gospel #soulmusic #pistolallen #jamesbrown #jabostarks #monette #bilbryant #timbreon

[davidgriffith]

“It Takes Two” in the Sweet 16 of March Fadness

RIGHT ABOUT NOW...NOW...NOW...

Calling all old skool Hip-Hop lovers on Tumblr: I need your help. 

This Wednesday (3/22) Rob Base and DJ E-Z Rock’s iconic 1988, multi-platinum hit “It Takes Two” is doing battle in the March Fadness tournament of 1980s one-hit wonders, and I need your vote.

I’m going up against Thomas Dolby’s “She Blinded Me With Science.” While it was a big hit in its day (1982), anyone who has read this far in the post knows that “It Takes Two” is far superior.

Here’s how the voting works: On Wednesday morning at 11 am EST voting will open. You can vote on the March Fadness website AND on by Twitter poll. Don’t worry, I’ll remind you closer to the time. Note that both votes count, so if you really want to show Rob Base and DJ E-Z Rock some love, vote in both places.

In case you’re wondering what March Fadness is, it’s an annual tournament of songs, kind of like the March Madness basketball tourney, but for writers who are music-lovers. Each song is repped by a writer who has to write an essay about why they think they’re song is the best.

Here’s a look at the bracket: 

You don’t have to read the essay to vote, but I promise you the essays are worth your while. My essay on “It Takes Two” is all about being 12 years old, growing up in Decatur, a city on the vast, flat prairie of central Illinois, wanting to be a DJ, and hearing the song for the first time in my buddy’s basement and how it change my life in a profound way. Oh, you should also know that we ran a fake radio station out of the basement that we called WPIG (basically we made mix-tapes and introduced the songs like we were DJs). I still have one of the tapes, which is somehow still playable 35 years later.

You can read the essay HERE. 

Here’s a little taste from the beginning of the essay, which I’ve titled “The Situation That the Bass is In.” 

For the first 47 years of my life, I believed that Mike Ginyard, aka MC Rob Base, was celibate.     In 1988, when Base and his childhood friend DJ EZ Rock’s, single “It Takes Two” dropped, I was thirteen and did not know of anyone, besides, the adults in my life, and maybe Tanya, the hot as hell sixteen-year-old daughter of my paper route client, Mr. Yarbrough, who was having sex.     And so, every time I listened to “It Takes Two” in the basement of our split-level ranch in Decatur, IL, on my father’s capable system—Pioneer receiver with 5-band graphic equalizer, JVC CD player, with a hand-built 70s HeathKit turntable, and Pioneer speakers with 15 inch woofers—the line “...don’t smoke buddha can’t stand sex [sic], yes…” struck me funny.     The only people I knew that did not have sex on principle were the priests and nuns at Our Lady of Lourdes Catholic Church, and I would come to find out years later that I was even wrong about that.

Thanks for reading, and check back here daily for new content dedicated to this iconic song.

HIT IT!! 

[kickmag]

Bootsy Collins Remembers Clyde Stubblefield & Jabo Starks On New Single

Bootsy Collins remembers drummers Clyde Stubblefield and Jabo Starks on his latest single, "The JB's Tribute Pastor P." They all worked together in James Brown's band and helped Brown create some of his funk classics. Stubblefield will be forever remembered for creating the famous break from "Funky Drummer." His drums were also immortalized on "Cold Sweat," "Ain't It Funky Now," "Mother Popcorn," "Say It Loud- I'm Black and I'm Proud," "Give It Up Or Turn It Loose," "Get Into It, Get Involved," "There Was A Time," and the Sex Machine album. Starks played on "The Payback," "Sex Machine," "Soul Power," "Papa Don't Take No Mess," "Licking Stick-Licking Stick," "Super Bad," "Talkin' Loud and Sayin' Nothing" and "Doing It To Death." Collin's tribute has Harry Mack rapping and the band, which includes Brown alumni Fred Wesley on the trombone. Collins' 23rd album, Album of the Year #1 Funkateer, is due any day now. 

[mikijamcf]

Remembering Clyde Austin Stubblefield (April 18, 1943 - February 18, 2017) Drummer best known for his work with James Brown (1965-1970). A self-taught musician, he was influenced by the sound of natural rhythms around him. His drum patterns on Brown's recordings are considered funk standards. He recorded and toured with Brown for six years and settled in Madison, Wisconsin, where he was a staple of the local music scene. Often uncredited, samples of his drum patterns were heavily used in hip-hop music. He was the recipient of an honorary doctorate in fine arts. In 1965 he joined James Brown's band. Over the next six years the band had two drummers, Stubblefield and John "Jabo" Starks who had joined the band two weeks earlier. Starks' style was influenced by the church music he grew up with in Mobile, Alabama. The two drummers had no formal training. According to Stubblefield, "We just played what we wanted to play (...) We just put down what we think it should be."The two "created the grooves on many of Brown's biggest hits and laid the foundation for modern funk drumming in the process." Stubblefield's recordings with James Brown are considered to be some of the standard-bearers for funk drumming, including the singles "Cold Sweat", "There Was a Time", "I Got The Feelin'", "Say It Loud – I'm Black and I'm Proud", "Ain't It Funky Now", "Mother Popcorn", "Get Up, Get Into It, Get Involved" and the album Sex Machine. His rhythm pattern on James Brown's "Funky Drummer" is among the world's most sampled musical segments. It has been used for decades by hip-hop groups and rappers such as Public Enemy, Run-D.M.C., N.W.A, Raekwon, LL Cool J, Beastie Boys and Prince, and has also been used in other genres.Though the sole creator of his patterns, Stubblefield was not credited for the use of the samples. He was featured in the 2009 PBS documentary, Copyright Criminals, which addressed the creative and legal aspects of sampling in the music industry

[altamontpt]

"Get Up (I Feel Like Being a) Sex Machine" - James Brown

Pai do funk e padrinho da soul, não se pode falar de canções carregadas de sexualidade sem lembrar James Brown.

Pai do funk e padrinho da soul, não se pode falar de canções carregadas de sexualidade sem lembrar James Brown. Este tema foi editado em 1970 e foi o primeiro a ser gravado com a sua banda The J.B.’s, que contava com Catfish e Bootsy Collins na guitarra e baixo respetivamente. Também estava Bobby Byrd no orgão e um dos pioneiros da batida funk, Jabo Starks. Uma daquelas canções obrigatórias para…

[odk-2]

                                           John Henry’’Jabo’’ Starks

Mr. Starks played on many of James Brown's biggest hits, either as the sole drummer or in tandem with Clyde Stubblefield, including "The Payback", "Sex Machine", "Super Bad", and "Talkin' Loud and Sayin' Nothing"... Along with his colleague Mr. Stubblefield, Jabo Starks ranks as one of the most sampled drummers on contemporary Hip-Hop and R&B recordings. - Wikipedia

https://www.nytimes.com/2018/05/01/obituaries/jabo-starks-drummer-for-james-brown-dies-at-79.html

https://en.wikipedia.org/wiki/John_%22Jabo%22_Starks

*** ***

James Brown with The JB’s - Get Up (I Feel Like Being a) Sex Machine                                                   (Parts 1 and 2) (1970) https://tmblr.co/ZoHQpk2XbKqUb

[mudwerks]

Phelps "Catfish" Collins - guitar

William "Bootsy" Collins - bass

John "Jabo" Starks - drums

[lysergicfunk]

[onejazztrackaday]

Spinning Wheel – James Brown

The Hardest Working Man in Show Business, Mr. Dynamite, Soul Brother No. 1, JB, and The Godfather of Soul, they are all James Brown.

Everything about James Brown was big. He would boast that in a year he would perform more than 600 hours onstage, play more than 960 songs on at least eight instruments. But the instrument Brown loved above all others, was his Hammond B3 organ wrapped in a custom black leather cover with the hand cut red letters spelling out “God-father”.

James Brown once told a jazz writer than he was no organ player. He went for feel, not mastery. Like the instrument’s inventor, Laurens Hammond, JB couldn’t read music; he worked by feel, and belief. 

Spinning Wheel shows that feel and belief. The song was written by David Clayton-Thomas, the vocalist of Blood Sweat and Tears who had a hit with it in 1969. For me however it will always be associated with James Brown, his 1970 double album Sex Machine, and his Hammond B3.

Along with James Brown on organ, you can also hear Richard "Kush" Griffith and Joseph Davis on trumpet, Fred Wesley on trombone, Maceo Parker and Eldee Williams on tenor sax, St. Clair Pinckney on baritone sax, Jimmy Nolen and Alphonso "Country" Kellum on guitar, with Sweet Charles Sherrell on bass. Three drummers are credited on the album, Clyde Stubblefield, John "Jabo" Starks, and Melvin Parker, though I have been unable to find who played the kit on this track.

–Bozzie 🎷

[zerotodrum]

Clyde Stubblefield And John “Jabo” Starks, The Best Duo Ever

There has been a huge number of drummers in history, but very few compared to the legacy left by Clyde Stubblefield. It is hard to talk about him without mentioning John “Jabo” Starks because these are two drummers who always worked together. And it is possible that each of them was successful – though John is woefully underrated because of their collaborations and reason to stick together as a team.

https://zerotodrum.com/clyde-stubblefield-and-john-jabo-starks/

[funkbyfunk]

Thank you John “Jabo” Starks (1938-2018)

[dark-and-endless-sky]

ARYA STARK: "Sam Givhan. Clyde Chambliss. Will Barfoot. Arthur Orr. Jabo Waggner. Shay Shelnutt. Greg Reed. Cam Ward. Greg Albritton. Dan Roberts. Andrew Jones. Tim Melson. Tom Butler. Larry Stutts. Steve Livingston. Jim Mclendon. Garlan Gudger. Gerald Allen. Clay Scofield. Donnie Chesteen. David Sessions. Randy Price. Chris Elliott. Del Marsh. Jack Williams."

A girl remembers.

[odk-2]

James Brown - The Payback (1973) John "Jabo" Starks / James Brown / Fred Wesley from: "The Payback" LP

Album Personnel: James Brown: Lead Vocals / Electric Piano Hearlon "Cheese" Martin: Guitar Jimmy Nolen: Guitar Maceo Parker: Alto Saxophone / Flute St. Clair Pinckney: Tenor Saxophone / Flute Darryl "Hasaan" Jamison: Trumpet Jerone "Jasaan" Sanford: Trumpet Isiah "Ike" Oakley: Trumpet Fred Wesley: Trombone Fred Thomas: Bass John Morgan: Percussion John "Jabo" Starks: Drums

[mudwerks]

(via Jabo Starks, Drummer for James Brown, Dies at 79 - The New York Times)

[dustedmagazine]

Terry Allen and the Panhandle Mystery Band— Pedal Steal + Four Corners (Paradise of Bachelors)

Pedal Steal + Four Corners by Terry Allen and the Panhandle Mystery Band

The set opens with the bent note of an acoustic guitar being tuned, a car blazes down the highway, crickets chirp, a roadhouse screen door snaps shut, and boots crack hard on concrete. It’s the unmistakable ambiance of a Terry Allen record, even if you’ve never heard one quite like this before. Pedal Steal  + Four Corners collects one long-form narrative piece (“Pedal Steal,” originally composed for a dance performance) and four radio plays (“Torso Hell,” “Bleeder,” “Reunion (a return to Juarez),” and “Dugout,” which were originally broadcast on NPR during the mid-1980s and early 1990s), and is augmented by an extensive booklet with essays and supplementary photographs and images of Allen’s visual work. It's a fascinating, satisfying distillation of this subtly sage artist’s remarkable career as well as an excellent introduction to it for the uninitiated.

Terry Allen is from Lubbock, Texas, home to Buddy Holly, but also the Legendary Stardust Cowboy and the three Flatlanders — Jimmie Dale Gilmore, Joe Ely and Butch Hancock — among others. It’s a mid-size farming and ranching city in the Texas high planes and is the sort of town that someone with an artistic bent or a need to see the world could be forgiven for trying to escape, at least for a little while, but, if the music of Allen is any indication, will never quite shake. Allen did leave Lubbock in the 1960s, though, to study art in Los Angeles. He received a BFA in 1966 and would go on to teach, lecture, receive Guggenheim fellowships, have his work displayed around the world and generally amass the accolades of the respected fine artist. All the while, Allen was also a practicing musician, spinning plaintive, clever, bawdy but always moving piano- and guitar-driven tales of the troublesome and the troubled unleashed upon and lost within the stark expanse of the American southwest. 

Beginning with his 1975 debut, Juarez, Allen’s music combined a simple yet assured sense of American roots songwriting with a colorful and acerbic propensity for storytelling. A pseudo-concept record about the exploits of Sailor, Jabo, Chic Blundie and Spanish Alice, Juarez is a gorgeous, profane, disorienting tale of love and violence. Its follow-up, the 1978 double-LP Lubbock (On Everything), is a sprawling set of songs touching on everything from the hypocrisies of the art world to fallen Lone Star football idols, alluring diner waitresses and the divine call of the open Texas highway.

 Pedal Steal + Four Corners, a single-LP/three-CD set, contains all the hallmarks of Allen’s work as both a musician and a gifted creative. Characters include a quadriplegic Vietnam vet, a tortured bandit/guitar prodigy, a woman road house pianist and a shady political operative who suffers from hemophilia, and Allen brings them to life in vivid at times brutal detail. But as with all complicated art, these stories, though fully formed as creative statements, are never truly complete, and least not in a traditional sense. Allen’s stories, often narrated here by his wife, actress Jo Harvey Allen, play with the fluid, unreliable nature of memory, narrative and the historical record. For all their detail, the pieces are delivered more as vivid bursts of recollection than traditional beginning-middle-end stories. The tales are all set to Allen’s music, and though some of his straightforward songs come to fore, the compositions are generally used to soundtrack the proceedings and are enhanced with various sound effects and prerecorded dialogue, including thunder and lightning, Navajo chants and a McDonald’s commercial. With its dramatic multifaceted approach, Pedal Steal + Four Corners could be viewed as template for the more adventurous practitioners of the modern podcast — collage-style storytelling for a post S-Town landscape.

Taken all at once, Pedal Steal + Four Corners can feel a bit unwieldy, but it needn’t be experienced that way. These are individual pieces with their own purpose and impact. The radio play is a nearly forgotten medium even amidst the abundance of the podcast, yet Terry Allen appears to have been perfectly suited for it. These pieces allow him to fully indulge his polymathic talents, specifically songwriting and narrative storytelling. Yet while his visual art stands separate here to a degree, Pedal Steal + Four generates rich, detailed and at times abstract visual sensations even if it doesn't accomplish it through traditional visual mediums. The effect can be deeply moving in its multisensory impact.

With this release, Paradise of Bachelors has now made available three essential works by one of American music’s most brilliant but still overlooked cultural purveyors. One would think a chronicler of derelicts, outcasts and eccentrics traversing a fractured and confused America would be of prime interest to many at this tenuous moment in our history. Well, it’s never too late. And now with Juarez, Lubbock (On Everything), and, now, Pedal Steal + Four Corners back in print, there’s no excuse.

Nate Knaebel

[tropicalkerlon]

Words to e street shuffle

Words to e street shuffle professional#

Words to e street shuffle series#

Words to e street shuffle series#

NEW YORK - SEPTEMBER 28: Bruce Springsteen and the E Street Band perform on NBC's 'Today Show' concert series at Rockefeller Plaza Septemin New York City.

Words to e street shuffle professional#

right up until he dismissed them after 1986’s“Blood And Chocolate.” But the Attractions returned in the mid-1990s, until a long-simmering conflict between Costello and bassist Bruce Thomas resulted in the latter being booted for good, with Costello later declaring that he only works with professional musicians. Starting out as a punk-styled Booker T and the MGs, the Attractions proved themselves flexible enough to swing with Costello’s changing moods (from soul to country to lush pop), making them indispensable. Credit the introduction of the Attractions, a crazily fierce unit with a surf-rock organ gone berserk and a rhythm section that constantly fell just on the right side of chaos. “My Aim Is True” established Elvis Costello as one of the sharpest, most important new voices in rock ’n’ roll, and it takes exactly five seconds for follow-up “This Year’s Model” to make it sound declawed. The Attractions (Elvis Costello) Elvis Costello performs during the 2008 New Orleans Jazz & Heritage Festival in New Orleans Sunday, April 27, 2008. But with Jabo Starks on drums (augmented at times by the funky drummer himself, Clyde Stubblefield), Maceo Parker on saxophone and, for a time, future P-Funkateer Bootsy Collins on bass, the J.B.’s were the tightest (and possibly most terrified) band in the world, carrying out the orders of a ruthless disciplinarian and being rewarded by acting as the machine with which he invented a brand-new genre: funk. Part of that was surely due to Brown’s notorious habit of fining his musicians for the slightest mistake on or off the stage. But with all respect to the Famous Flames, his backing group for the first 15 years, nothing could touch the razor precision with which the J.B.’s supported the Hardest Working Man In Show Business. James Brown was such a rigid taskmaster that he was legendary for being able to squeeze killer performances even from pickup bands he’d never worked with before. (AP Photo/Keystone, Martial Trezzini/File) Martial Trezzini / KEYSTONE 7, 2008, about whether they hid one of Brown's earlier wills. An attorney for five of James Brown's children questioned the late soul singer's ex-trustees during a court hearing Thursday Feb. soul legend James Brown performs on stage at the Paleo Festival in Nyon, Switzerland, in this Jfile photo.