|Title:||Funky Pete Parts 1 & 2|
|Guitar Ray, whose actual name was Raymond Washington, recorded just over half a dozen 45RPM singles in New Orleans from the late 1950s to 1968. Four of those had been released on Hot Line Records out of New Orleans, which was a subsidiary of Nola Records. Wardell Quezergue, one of the principals of the companies, did most of the production and arranging for them - as shown on the label: "Arr by Wardell."|
Released in around 1967, the singer's own Funky Pete appeared on the third of Washington's four singles for Hot Line. It was a straight-ahead dancer that emphasized the rhythmic elements of the song, all locked into a tight, spring-loaded, high energy groove, probably propelled by el supremo beat-man, Smokey Johnson. The drum and vocal intro that Quezergue set up pulls you right into the action; then the horns come in and push the groove to maximum heights.
As with all re-issues on Tramp it comes with excellent sound quality and original label artwork too. Because Funky Pete Pt.1 also appears on the Feeling Nice compilation (TRCD/LP-9012) they did a strictly limited press run of 111 hand-numbered copies on the Hot Line issue. Be Quick!
|Title:||C'mon Baby / Margit|
|The story of The Qualitons began in 2007 when DJ/producer Kanada Kaosz decided to put together a funk/soul/afrobeat band. He went to dozens of concerts to hand-pick musicians for this project. This is the way The Qualitons were born. The band were named after the living memory of the former Hungarian Recording Company "Qualiton" - a record label which existed from the late 50s up to the 70s.|
The a-side of this single, the heavy beat-influenced C'mon Baby (get heavy with me), is a perfect example of their unique style they have developed over the years. Drummer Hunor G. Szabo is not only playing his instrument but also delivers the vocals along with the entire band.
On the b-side you have Margit, a 2 minutes and 41 seconds lasting funk instrumental with a roaring bass-line of deep intensity. The sound and production of this gem is another proof for the bands ability not only to imitate but develop the golden sound of the 1960s.