Barefoot Soul: The NOLA Recordings of
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Despite the huge number of quality soul, funk and R&B sides to come out of New Orleans studios in the 1960’s, there weren’t too many that made a serious dent on the national charts (let alone the national consciousness). Whether this had to do with the uniqueness of Crescent City musicians or producers, or inherent problems with the taste of America’s radio listeners (probably a combination of both), few New Orleans soul sides are as well remembered as Robert Parker’s 1966 hit ‘Barefootin’.

  Born in New Orleans in 1930, Parker was a seasoned live and studio musician by the time he hit the charts. He had gigged and recorded with Professor Longhair, Huey Piano Smith (who’s band was like a finishing school for Nola singers and musicians) and Earl King among others. He recorded his first sides as a leader for the Ron label in 1959, and over the next four years had records released by Imperial and Booker among others.

It wasn’t until he hooked up with NOLA Records in 1966 that he would cement his place in Soul history. Working with master New Orleans producer/arranger Wardell Quezerque, Parker would record eleven 45’s and one LP (the only LP release by the label) from 1966 to 1968.

His first, ‘Barefootin’ b/w ‘Let’s Go Baby (Where the Action Is)’ (Nola 721) was a huge hit by any standard (especially in New Orleans) making it to #2 R&B and #7 pop in the summer of 1966. Both sides were upbeat dancers and remain popular with the Northern Soul crowd. Marked by Parker’s smooth tenor and twangy guitar by New Orleans legend George Davis, ‘Barefootin’’ has been covered dozens of times since it’s initial release and has been utilized as a commercial jingle.  The single was the biggest success that NOLA Records had seen (or would ever see) and their discography seems to indicate that they were pinning their hopes for continued national success on Parker.

Ironically, ‘Barefootin’, which was recorded in 1965 sat in the can for a year because of ambivalence by NOLA. The success of the record was enough that parker toured the UK in 1966, playing at the legendary Tiles club among others.

Sadly this success was not to materialize. That isn’t to say that Parker was without artistic success. Though he wasn’t the most distinctive vocalist plying his wares in New Orleans, he managed (in combination with Quezerque and the cream of New Orleans musicians) to make some excellent (and unjustly obscure) soul 45s on the NOLA label.

The ‘Barefootin’’ LP has a surprising number of tracks that do not appear on 45, including a number of covers. Parker does fairly good versions of Otis Redding’s ‘I’ve Been Loving You Too Long’ and ‘Mr. Pitiful’ as well as a cool cover of ‘In The Midnight Hour’. The fact that NOLA decided  to record/issue their only LP (and a long string of 45s)  with Parker says a lot about how they hoped to capitalize on the success of that first 45.

Parker’s next 45, ‘Ring Around The Roses’ b/w ‘She’s Coming Home’ (NOLA 724) has so far eluded me, and if anyone has a copy they can tape/burn for me I would be greatly appreciative.

‘Happy Feet’ b/w ‘The Scratch’ (NOLA 726)  is one of those 45s where the record company clearly decided that the only way to follow up a hit  was to make an outright clone. This isn’t to say that ‘Happy Feet’ isn’t an enjoyable record, but that it appears to be made from the same piece of cloth as ‘Barefootin’. It’s flip side, ‘The Scratch’ is a more hard driving version from the same template.

‘Tip Toe’ b/w ‘Soul Kind of Loving’ (NOLA 729) was Parker’s only other chart success for NOLA (but to a much smaller extent). ‘Tip Toe’ (which was covered by UK reggae/soul singer Norman T. Washington on the Pama label) is a storming dancer with a great bass line. ‘Soul Kind of Loving’ is a bluesy ballad.

Parker’s last 1966 single was ‘A Letter to Santa’ b/w ‘CC Rider’ (NOLA 730). The a-side was a holiday novelty number, with the flip being a storming take on the Chuck Willis classic (check those hard Smokey Johnson drums!).

His next 45 (NOLA 733) paired a harder, upbeat soul side ‘Secret Service’ with a laid back slice of classic New Orleans R&B ‘Yak Yak Yak’.  It’s sad to think that these 45’s probably weren’t getting a whole lot of airplay outside of Louisiana. This probably had more to do with the fickle tastes of the listening public than it did with the quality of the records, because the second half of Parker’s NOLA discography is definitely more interesting.

The budding sounds of funk (evident in New Orleans before almost anywhere else) started to appear on ‘Everybody’s Hip Huggin’ b/w ‘Foxy Mama (NOLA 735). While ‘…Hip Huggin’ has a slow groove, ‘Foxy Mama’ combines a rolling bassline and a funkier drum sound (with a strong backbeat).

Just when things started to get a little funky, Parker took a step back into classic soul with ‘I Caught You In A Lie’ b/w ‘Holdin’ Out’ (NOLA 738). The a-side is a sophisticated, mid tempo soul number reminiscent of Eddie Bo’s work with Barbara George on Seven B. ‘Holdin’ Out’ is run of the mill New Orleans R&B.

Parker’s last three 45’s for NOLA are by far the rarest, commanding upwards of $100 apiece from collectors. They also mark a move to a harder sound, no doubt trying to compete with similar records riding the R&B and pop charts. ‘Barefootin’ Boogaloo’  b/w ‘Soul Sister’ has a much harder edge than previous singles. ‘Barefootin’ Boogaloo’, while a shameless attempt to capitalize on his initial success, is a great upbeat raver that lifts a bit of the Isley Brothers ‘Shout’ in the chorus. ‘Soul Sister’ has a great drum breakdown, some funky grunts by Parker and a horn line lifted from Otis Redding’s version of ‘Satisfaction’.

By this point NOLA was running out of steam as a label, and aside from singles by Willie Tee and Marilyn Barbarin, they were pressing Robert Parker singles almost exclusively.

‘Boss Lovin’ b/w ‘Bow Legs’ (NOLA740)  is a mixed blessing. While ‘Boss Lovin’ is a hard changer with a funky beat (and a lyrical reference to ‘A Hard Days Night’), ‘Bow Legs’ couldn’t be less inspired and is basically a throw-away number.

Parker’s last 45 for NOLA (and apparently the last 45 on the label by anyone) was the outstanding (and incredibly rare, according to the 2002 Night Train reissue the track was “previously not known to exist”, though there are known copies of the 45) ‘Funky Soul Train’ b/w ‘Robert and WQs Train (NOLA 742). The a-side is a funky number with a ‘Tighten Up’ groove that ought to have been a hit. The flip is an instrumental version of the same tune.

Parker later recorded singles for the SSS Intl., Silver Fox and Island labels in the early 70’s.

Currently the only reissue worth picking up is ‘Robert Parker: The Wardell Quezerque Sessions’ (Night Train). While I wouldn’t normally recommend anything reissued by the Tuff City group (for a wide variety of reasons), the disc is fairly comprehensive (omitting only a handful of 45 and LP tracks). Some of it sounds as if it was mastered from vinyl, but some of these tracks are so rare that even that can be forgiven.

Robert Parker's NOLA Records Discography

Nola 721 - Barefootin' */ Let's Go Baby (Where The Action Is) - 1966  
Nola 724 - Ring Around The Roses / She's Coming Home - 1966
Nola 726 - Happy Feet / The Scratch - 1966
Nola 729 - Tip Toe / Soul Kind Of Loving - 1966
Nola 730 - A Letter To Santa / C. C. Rider - 1966
Nola 733 - Yak Yak Yak / Secret Service - 1967
Nola 735 - Everybody's Hip-Hugging / Foxy Mama - 1967
Nola 738 - I Caught You In A Lie / Holdin' Out - 1967
Nola 739 - Soul Sister / Barefootin Boogaloo
Nola 740 - Bow Legs / Boss Lovin'
Nola 742 - Funky Soul Train / Robert & WQ's Train (inst) - Wardell Quezerque Band