To me it always sounded like "but the groundhog's gonna be up here on there".
I did some research just now, and the publisher of "Woman's Lib" is Lu-Pine Production (or Lu-Pine Production Company). The label seems to have originated in Detroit, and the titles in the 50's represent a bit of Detroit doo-wop. The label was was run by Robert West, who also had a string of other labels too (including Contour). Some of his titles were picked up by Atlantic for distribution (which was common for a lot of small indie soul labels in the 60's). Apparently there was some troubles going on with one of his business partners, and was shot, at least according to this link: http://soulfuldetroit.com/archives/3838/3557.html?1054857956
For whatever reason, that lead him to Las Vegas, and I bring that up because the Singing Principal 45 on Flick is listed as being from Las Vegas. Lupine Records also revived in Las Vegas and both the Lupine and Flick labels shared the same address.
Looking at another site, it states that Robert West was Eddie Floyd's uncle, and not only was responsible for getting Betty Lavett signed to Atlantic, but also released some of the first sides by The Supremes before they became the Supremes.
I only bring this up because I was not aware of a soul scene in Las Vegas, and considering the connections West had, "Woman's Lib" may have been of Detroit origin. Some of it reminds me of Mack Rice.
BMI lists a Larry Woolen as a contact for the music owned by Lupine, so it may be possible (maybe) that he has some documentation of who played on the song, unless his role is just on the publishing side.
"the groundhog's gonna be her mailman". old black people slang translation for whites: a warning for when you about to fuck somebody's ass up. like, i'm gonna put you in the ground and you gonna need a groundhog to deliver mail to yo dead ass from here on out.
btw, if you're a and want to cop an OG of that 45, PM ya boy. serious inquiries only. in other words, don't pm me with some sucker deal cuz i won't even reply to yo cheap ass
Once again, I have to say that a johmbolaya appreciation thread is in order.
To me it always sounded like "but the groundhog's gonna be up here on there".
I did some research just now, and the publisher of "Woman's Lib" is Lu-Pine Production (or Lu-Pine Production Company). The label seems to have originated in Detroit, and the titles in the 50's represent a bit of Detroit doo-wop. The label was was run by Robert West, who also had a string of other labels too (including Contour). Some of his titles were picked up by Atlantic for distribution (which was common for a lot of small indie soul labels in the 60's). Apparently there was some troubles going on with one of his business partners, and was shot, at least according to this link: http://soulfuldetroit.com/archives/3838/3557.html?1054857956
For whatever reason, that lead him to Las Vegas, and I bring that up because the Singing Principal 45 on Flick is listed as being from Las Vegas. Lupine Records also revived in Las Vegas and both the Lupine and Flick labels shared the same address.
Looking at another site, it states that Robert West was Eddie Floyd's uncle, and not only was responsible for getting Betty Lavett signed to Atlantic, but also released some of the first sides by The Supremes before they became the Supremes.
I only bring this up because I was not aware of a soul scene in Las Vegas, and considering the connections West had, "Woman's Lib" may have been of Detroit origin. Some of it reminds me of Mack Rice.
BMI lists a Larry Woolen as a contact for the music owned by Lupine, so it may be possible (maybe) that he has some documentation of who played on the song, unless his role is just on the publishing side.
I want to know how the UK's Action ended up licensing and issuing the 45.
Probably the same way they licensed the mysterious Joe S. Maxey 45.
This (on the Action label) from the comments on a blog post I did about the record.
Sampo Teikari said... And yeah, the people behind Action almost certainly did know what was going on here. The label was owned by John Abbey[/b], one of the biggest soul enthusiasts in sixties Britain. He also founded the still active fortnightly magazine Blues & Soul back in 1966, and is nowadays in Atlanta running the great Ichiban label, which has put out many contemporary roots soul releases over the past twenty years.
Sampo Teikari said... And yeah, the people behind Action almost certainly did know what was going on here. The label was owned by John Abbey[/b], one of the biggest soul enthusiasts in sixties Britain. He also founded the still active fortnightly magazine Blues & Soul back in 1966, and is nowadays in Atlanta running the great Ichiban label, which has put out many contemporary roots soul releases over the past twenty years.
...not quite - Ichiban went out of business around '98-99.
"the groundhog's gonna be her mailman". old black people slang translation for whites: a warning for when you about to fuck somebody's ass up. like, i'm gonna put you in the ground and you gonna need a groundhog to deliver mail to yo dead ass from here on out.
Sampo Teikari said... And yeah, the people behind Action almost certainly did know what was going on here. The label was owned by John Abbey[/b], one of the biggest soul enthusiasts in sixties Britain. He also founded the still active fortnightly magazine Blues & Soul back in 1966, and is nowadays in Atlanta running the great Ichiban label, which has put out many contemporary roots soul releases over the past twenty years.
...not quite - Ichiban went out of business around '98-99.
"the groundhog's gonna be her mailman". old black people slang translation for whites: a warning for when you about to fuck somebody's ass up. like, i'm gonna put you in the ground and you gonna need a groundhog to deliver mail to yo dead ass from here on out.
There's always a sense of satisfaction when you find out the meaning of some hard-to-hear line. I can still remember the inner peace i felt when I found out that indecipherable line in Whitneys My love is your love is "and the chains of Amistad couldn't hold us". There's a dancehall cover of it too, where the singer just adlibs some line about stars instead. So I guess it wasn't just me.
"the groundhog's gonna be her mailman". old black people slang translation for whites: a warning for when you about to fuck somebody's ass up. like, i'm gonna put you in the ground and you gonna need a groundhog to deliver mail to yo dead ass from here on out.
you're welcome.
so the artist is saying, "if you want woman's liberation, I'm going to kill you"? (Metaphorically speaking)?
ok, whats the line from showxbiz & ag "party groove"? "as stretch loosens over to the band" ??? i cant pretend to get close on that one "zulu...gestapo" had me lost for a while
"the groundhog's gonna be her mailman". old black people slang translation for whites: a warning for when you about to fuck somebody's ass up. like, i'm gonna put you in the ground and you gonna need a groundhog to deliver mail to yo dead ass from here on out.
you're welcome.
so the artist is saying, "if you want woman's liberation, I'm going to kill you"? (Metaphorically speaking)?
yes, but by the end of the song he's changed his tune and accepted his fate as a typical p-whipped man, even going so far as to serve his woman breakfast in bed. complete with eggs made to order.
ok, whats the line from showxbiz & ag "party groove"? "as stretch loosens over to the band" ??? i cant pretend to get close on that one "zulu...gestapo" had me lost for a while
It's an old Zulu Nation chant, indicating that they were such bad ass motherfuckers, they were as hard as the Gestapo. It's similar to why a lot of old school biker gangs borrowed iconography from Nazis as well - iron crosses for example - even when they were not "Neo-Nazi" in any sense of the term.
ok, whats the line from showxbiz & ag "party groove"? "as stretch loosens over to the band" ??? i cant pretend to get close on that one "zulu...gestapo" had me lost for a while
It's an old Zulu Nation chant, indicating that they were such bad ass motherfuckers, they were as hard as the Gestapo. It's similar to why a lot of old school biker gangs borrowed iconography from Nazis as well - iron crosses for example - even when they were not "Neo-Nazi" in any sense of the term.
There's a dancehall cover of it too, where the singer just adlibs some line about stars instead. So I guess it wasn't just me.
Yeah, I've always got a kick out of hearing Jamaican (and other) interpretations of difficult lyrics when covering songs. There are a ton of amusing/confusing lines in reggae covers. The one that immediately comes to mind is the Chosen Few version of "Tears of a Clown" ... when they get to the line where the Miracles said "... just like Pagliacci, did, I'm gonna keep my sadness hid" instead the singer says "... juts like Pollyanna did ..." I always wondered if the Chosen Few were unfamiliar with the Leoncavallo opera and said what they thought the line was, or if they were more clever than I gave them credit for, and the story of Pollyanna was actually comparable to the Pagliacci tale in some way.
Comments
Ehm, that's what I always thought, but I'm sure I'm wrong. I mean seriously, WTF?
who plays on this track? great musicianship all around...
is the third verse "bitch, your lawyer called today..."? does he say bitch? i cant tell.
I did some research just now, and the publisher of "Woman's Lib" is Lu-Pine Production (or Lu-Pine Production Company). The label seems to have originated in Detroit, and the titles in the 50's represent a bit of Detroit doo-wop. The label was was run by Robert West, who also had a string of other labels too (including Contour). Some of his titles were picked up by Atlantic for distribution (which was common for a lot of small indie soul labels in the 60's). Apparently there was some troubles going on with one of his business partners, and was shot, at least according to this link:
http://soulfuldetroit.com/archives/3838/3557.html?1054857956
For whatever reason, that lead him to Las Vegas, and I bring that up because the Singing Principal 45 on Flick is listed as being from Las Vegas. Lupine Records also revived in Las Vegas and both the Lupine and Flick labels shared the same address.
Looking at another site, it states that Robert West was Eddie Floyd's uncle, and not only was responsible for getting Betty Lavett signed to Atlantic, but also released some of the first sides by The Supremes before they became the Supremes.
I only bring this up because I was not aware of a soul scene in Las Vegas, and considering the connections West had, "Woman's Lib" may have been of Detroit origin. Some of it reminds me of Mack Rice.
BMI lists a Larry Woolen as a contact for the music owned by Lupine, so it may be possible (maybe) that he has some documentation of who played on the song, unless his role is just on the publishing side.
Is what I always thought it was.
you're welcome.
Probably the same way they licensed the mysterious Joe S. Maxey 45.
This (on the Action label) from the comments on a blog post I did about the record.
This....
and this...
which are both in actuality this...
...not quite - Ichiban went out of business around '98-99.
I'll let Sampo know when I see him...
Solid. Thank you much.
so the artist is saying, "if you want woman's liberation, I'm going to kill you"? (Metaphorically speaking)?
"as stretch loosens over to the band" ???
i cant pretend to get close on that one
"zulu...gestapo" had me lost for a while
yes, but by the end of the song he's changed his tune and accepted his fate as a typical p-whipped man, even going so far as to serve his woman breakfast in bed. complete with eggs made to order.
It's an old Zulu Nation chant, indicating that they were such bad ass motherfuckers, they were as hard as the Gestapo. It's similar to why a lot of old school biker gangs borrowed iconography from Nazis as well - iron crosses for example - even when they were not "Neo-Nazi" in any sense of the term.
http://www.sendspace.com/file/aebjrt
Yeah, I've always got a kick out of hearing Jamaican (and other)
interpretations of difficult lyrics when covering songs. There are
a ton of amusing/confusing lines in reggae covers. The one that
immediately comes to mind is the Chosen Few version of "Tears of
a Clown" ... when they get to the line where the Miracles said
"... just like Pagliacci, did, I'm gonna keep my sadness hid"
instead the singer says "... juts like Pollyanna did ..."
I always wondered if the Chosen Few were unfamiliar with the
Leoncavallo opera and said what they thought the line was, or if they
were more clever than I gave them credit for, and the story of
Pollyanna was actually comparable to the Pagliacci tale in some way.