FunkMySoul's only purpose is to spread Soul, Funk and Rhythm & Blues from the 60's, 70's and 80's, almost exclusively from the original vinyl.
Our Vision
Our Vision is to create a collection of the most important artists and albums of these genres, a musical encyclopaedia if you will. More than just providing access to these musical gems, we take great care in sourcing information about the artists
The Music
and also include personal reviews amongst them. We hope that this passion can unify us all in our utmost respect for the purveyors of the music we love so much. Enjoy it and Bless you all Brothers and Sisters.
Brilliant work by one of the greatest harmony groups of the south – the mighty mighty Temprees, standing proud on this, their 3rd LP! The album's a bit less raw than some of the group's otheralbums, and some of the tracks were recorded in Philly, and have a bit of a warm 70s Philly soul finish – a great approach that takes the group even farther than you might have thought from their first two albums!
Tracks a1. Mr. Cool That Ain't Cool 2:53
a2. Your Love (Is All I Need) 3:35
a3. Loving You Is So Easy 3:12
a4. I Love, I Love 4:25
a5. The Whole Bit of Love 3:30
b1. Come and Get Your Love 3:14
b2. You Make Me Feel So Good Baby 3:15
b3. Medley: Don't Let Me Be Lonely Tonight / A Love Song 7:30
b4. I'll Live Her Life 2:55
I've said it in my earlier review, but The Temprees remain one of those consistently overlooked mid-1970s soul vocal groups which is a monumental shame given their talent. It would be hard, but ifI had to pick one, 1974's "Three" would probably the nod as my favorite of the three Tempress studio sets. Co-produced by Tom Nixon and Lester Snell, musically it wasn't much different from theearlier sets, offering up a mixture of the group's patented ballads and isolated up-tempo numbers. That said, this time out William Johnson, Jasper Phillips, and Harold 'Scott seemed effortlesslycomfortable in the studio, willing to take occasional risks with the material, including a couple of stabs at more dance oriented numbers (''I Love, I Love'). Maybe I've just been listening to too much Al Green, but on a couple of tracks Phillips sure seemed to be trying to channel Green – check out his performance on ''Loving You Is So Easy'. It wasn't the perfect Temprees album, the'Don't Let Me Be Lonely Tonight' and 'A Love Song' medley was simply dull (and way too long), but song for song this one was pretty impressive.
- For a group best known for their slow-grind ballads, personally I've always been partial to their upbeat numbers. and Mr. Cool That Ain't Cool'' was one of their best performances. About as closeto a funk workout as these guys ever got, the chorus was just to-die-for. Easy to see why it got tapped as the lead-off single.
- A far more typical performance, 'Your Love (Is All I Need)' was a breezy and easy going ballad that had plenty of commercial potential. Once again Johnson and Scott provided some simply impeccable backing vocals.
- Another wonderful ballad, 'Loving You Is So Easy' found lead singer Jasper Phillips adding a touch of Al Green sexiness to the mix. One of my favorite performances. Great drums on this one.
- The second single off the album, 'I Love, I Love' had an even stronger Al Green feel to it, though the effect was somewhat diluted by the mundane disco-flavored backing.
- Another up-tempo effort, 'The Whole Bit of Love' was also side one's biggest disappointment. The song itself wasn't particularly impressive, sounding like it had been thrown together in aninstant with one of those boilerplate mid-1970s arrangements. Add to that a lackluster performance and you had something completely forgettable.
- Opening up side two, their cover of Redbone's 'Come and Get Your Love' was fun. Musically, other than adding some of their patented harmonies, it didn't stray too far from the original arrangement. Still, it was doubtful you'd forget the original version of the song.
- At least to my ears 'You Make Me Feel So Good Baby' has always reminded me of something out of the Philadelphia International camp. It was certainly a nice enough ballad, but the arrangement andoverall feel was different from their standard performance. Like it a lot …
- Their heavily orchestrated medley of 'Don't Let Me Be Lonely Tonight' and 'A Love Song' saw the trio veering into supper club soul territory. Very Barry White MOR-ish and forgettable.
- Underscoring some of my earlier comments, the rapid fire 'I'll Live Her Life' was another standout performance. Fantastic melody and the up tempo arrangement seemed to inspire Phillips and company.
Filesonic, one of the Internet’s leading cyberlocker services, has taken some drastic measures following the Megaupload shutdown and arrests last week. In addition to discontinuing its affiliates rewards program and not yet paying accrued money to members, the site has disabled all sharing functionality, leaving users only with access to their own files.
To users of systems like BitTorrent, file-sharing means just that – the sharing of files with others. But this weekend users of Filesonic, one of the Internet’s leading cyberlocker services, sharing files is currently a thing of the past.
According to a shock announcement by the site, all file-sharing functionality has now been disabled, leaving current users only with access to files that they have personally uploaded. Many hundreds of thousands (probably millions) of links all around the web have now been rendered useless, at least temporarily.
But the bad news for the site’s users doesn’t end there. In the last few hours, before file-sharing was disabled, Filesonic also ended its rewards program, meaning that uploaders to the site no longer earn money when people download their files. A moot point perhaps, since no-one will be downloading files anyway.
However, there is the matter of what will happen to the reward money that was sitting in uploader’s accounts before the rewards program was discontinued. Will it be paid out, or will it simply disappear? Many users fear the latter.
No File-Sharing at Filesonic
This combination of news all adds up to a pretty big deal. Filesonic isn’t just some also-ran in the world of cyberlockers. The site is among the top 10 file-sharing sites on the Internet, with a quarter billion page views a month.
While there has been no official explanation from the site as to why the above actions were taken, all eyes are turned towards events of the last week – the closure of Megaupload and the arrest of its founder and management team.
Like Megaupload, Filesonic appears to be based in Hong Kong and it’s clear that the authorities there already worked with the US government to shut down Kim Dotcom’s operations and seize his assets there. Filesonic is also believed to have some US-based servers.
In December, Filesonic announced it had partnered with Vobile, a provider of content identification services. All uploads to the service were said to be being checked for copyright infringement before users were able to share them publicly, although it is unclear if this system was ever implemented by the site.
The events of the last week have turned the cyberlocker world upside down and there is quite literally panic among users and site operators. Stay tuned for our detailed report tomorrow – the Megaupload takedown appears to be a game-changer.
We will replace links to Easybytez or Rapidshare but if they close too then it will be the end for us!
A tremendous bit of harmony soul from Chicago, one of the few cases where the Windy City really gave the east coast a run for its money and the landmark album from teen soul quartet BrighterSideOfDarkness! Although young, BrighterSide managed to bring a depth to their work that was way more than kiddie soul, a heartfelt, heartbreaking quality that was all adult, no matter how youthful the themes and their vocals are a perfect contrast to the fuller arrangements from producers Clarence Johnson and Johnny Cameron. The set contains the group's classic "Love Jones", still one of the best fragile harmony tracks of the early 70s – plus loads of other great numbers like "I Owe You Love", "I'm A Loser", "Just A Little Bit", and a superb remake of "Summer Ride".
Tracks
A1 Just A Little Bit (Vocal) 5:35
A2 Oh Baby 3:00
A3 I Owe You Love 3:42
A4 Love Jones (Vocal) 4:30
A5 I'm A Loser 3:10
B1 Love Jones (Instrumental) 4:30
B2 Something To Remember You By 3.08
B3 Just A Little Bit (Instrumental)5:43
B4 Summer Ride 2:30
B5 I'm The Guy 2:35
Bonus
Because I Love You
He Made You Mine
Sharing an interest in music, Chicago high school friends Ralph Eskridge, Randolph Murph, and Larry Washington started singing at local school dances and talent shows. They eventually attracting the attention of local promoter Anna Preston who took the group onboard, adding then 12 year old Darryl Lamont to the line up and christening them The Brighter Side of Darkness.
With Lamont handling lead vocals the group won a local talent contest, attracting the attention of promoter Clarence Johnson who signed them to a recording deal with his Clarence Paul Productions. He subsequently recorded some demos with the group, subsequently shopping them out to the newly reactivated 20th Century Fox label. 20th Century Fox quickly latched on to the group composition 'Love Jones' releasing it as a single:
- 1972's 'Love Jones' b/w 'I'm the Guy' (20th Century Fox catalog number TC-2002) # 17 pop; # 3 R&B
The single quickly went gold, leading 20th Century Fox to rush the group into the studio to record a supporting album. The cleverly titled "Love Jones" served to pull together a mixture of early demos and new studio material. Normally support albums don't have a great deal going for them, but this was one of those rare exceptions. Mind you it wasn't perfect. Lamont's pre-teen voice was a bit on the shrill side, especially when he was forced to power his way through a song. Still these guys were actually far more talented than the single would have you believe. On a related note you had to feel a little sympathy for these guys – especially since they were forced to embarrass themselves with a cover photo showing them in matching pink silk outfits … You know they got some abuse from friends for those outfits.
- Anyone who only knew the group for the noveltytitle track hit was likely to be surprised by how good these guys could be. Lead singer Lamont was clearly the focal point of the group, but on the opener he was relegated to a couple of versus showcasing the fact the other three members were all decent singers with far more mature voices. Those tools were well displayed on the steamy opener 'Just a Little Bit'. Supported by some funky horn charts and nice wha-wha guitar, 'Just a Little Bit' was a great mid-tempo slice of funk and one of the standout performances.
- Far more commercial and radio friendly, 'Oh Baby' showcased Lamont's pre-adolescent vocals. Lamont actually had a nice voice, not all that different than a young Michael Jackson and the track actually had kind of a breezy Jackson Five vibe to it.
- Personally I've always found it kind of creepy to hear really young boys singing about love and 'I Owe You Love' was no exception. Lamont's voice simply sounded out of place on the track and forcing the arrangement forcec the other members to reach for a mile high falsetto which was patently unfair – I'm not sure who it was, but the poor guy literally sounded like his testicles were being crushed by a pair of pliers. Even weirder was hearing the spoken word segment from a woman that sounded like she was old enough to be Lamont's granny. On the other hand it was funny to hear them singing the lyric as I.O.U.
- Ah, the song they're remembered for … The only original on the album, musically there really wasn't a great deal to this one – essentially a spoken word rap explaining what a love jones was with Lamont and company endless repeating the title in the background. I remember originally hearing this and finding it cloying, though in retrospect it's actually kind of sweet in a naive fashion. (If you've never heard it be sure to check out the Cheech and Chong parody 'Basketball Jones').
- 'I'm a Loser' found the group moving back towards a more conventional soul ballad. Nice melody and the baseball analogy was cute, though once again Lamont's pre-teen vocals were kind of an acquired taste..
- The 'Love Jones' instrumental was basically filler meant to pad the album out. Stick with the vocal version on side one.
- I've listened to this album dozens of times and I have to admit thata other than the opening jangle guitar chords, 'Something To Remember You By' is the one track that's never made much of an impression on me. Another pretty, but bland ballad …
- The instrumental version of 'Just a Little Bit' was clearly another filler, though this one at least had a little bit of a funky edge. It would have sounded okay on a Curtis Mayfield soundtrack album.
- 'Summer Ride' was also released as a single, but to my ears it was pretty terrible. The song itself was kind of clumsy and the group really didn't seem all that enthusiastic in their delivery which was actually barely in tune. As if to compensate for the subpar performance producer William Johnson buried the track in equally awkward strings.
- Another cutesy reflection on high school love, 'I'm the Guy' was an okay mid-tempo ballad with a pretty melody and funny lyrics. In an era of Blackberries and PDAs its hard to imagine kids sending notes to one another in class today … The song got bonus points in that Lamont didn't handle the lead vocals.
The album was eventually tapped for two follow-on singles:
- 1973's 'Just a Little Bit' b/w 'Something To Remember You By' (20th Century Fox catalog number TC-2021)
- 1973's 'I Owe You Love' b/w 'Summer Ride' (20th Century Fox catalog number TC-2034)
Powered by the title track and the resulting publicity, the parent LP eventually hit # 35 R&B.
Not a perfect album (side one was definitely stronger than the flip), but an interesting timepiece that should appeal to old school soul collectors.
Unfortunately things went downhill after that. The details are lost in history, but
Eskridge, Murph, and Washington were fired for unprofessional behavior related to an appearence on Soul Train. Johnson subsequently recruited a new group for Lamont.
If you've yet to listen to Otis Clay, you are missing a vital link in the chain of roots to pop history. Soulful, bluesy, and rockin', this album features great guitarwork and the famous HI records horn section and backup singers. Be sure to check out "Trying to Live My Life Without You" and "Precious Precious". If you like Anne Peebles, Aretha Franklin, King Curtis, or Soloman Burke, you'll be an Otis fan for life.
Otis Clay, returned South by way of Chicago, and cut some blistering records of pure, Southern Soul.
Produced by Memphis soul genius Willie Mitchell, Clay's first album for Hi Records (also home to Al Green and Syl Johnson) is a must for fans of deep, deep Southern Soul.
Tracks
A1 Trying to Live My Life Without You 2.52
A2 I Die a Little Each Day 2.43
A3 Holding on to a Dying Love 3.02
A4 I Can't Make It Alone 2.56
A5 That's How It Is 3.38
B1 I Love You, I Need You 5.48
B2 You Can't Keep Running from My Life 2.49
B3 Precious Precious 3.17
B4 Home Is Where the Heart Is 2.55
B5 Too Many Hands 2.47
"Trying to Live My Life Without You" sounds quite upbeat and catcy, despite the depressing title, but the way Otis belts and wails out the anguished lyrics is proof enough of the song's inherent sadness.
Things get really low-down, however, on a beautiful version of Don Bryant's "I Die a Little Each Day". The gentle, steady beat, churchy organ, gospelish backing vocals and shimmering strings make this the most delicate song on the album. "Holding on to a Dying Love" opens with the same strings, but soon makes way for a stomping groove, with Clay's gutbucket vocals beautifully augmented by the backup singing – provided by Rhodes-Chalmers-Rhodes.
Clay gets brutally honest on the hard socking "I Can't Make It Alone", a ballad filled with self-doubt and despair. By the time Otis reaches the chorus, you know you've landed in the deepest of deep soul. Again, the strings are tastefully arranged and the chiming piano in the back works brilliantly.
Side A ends similarly low-key with "That's How It Is", a mid-tempo ballad that nonetheless features a heavy backbeat (courtesy of drummer Howard Grimes). The soft, purring Hammond organ and subdued brass (Memphis Horns!) add to the despondent mood, while Teenie Hodges' guitar fills at the end are plain spooky.
The mood remains pretty much the same on the flipside, with the minor keyed, bluesy wailer "I Love You, I Need You". Also, the Hammond isn't purring here no more, it's growling. Clay's treatment of the final verses is mindblowing, especially as the seem improvised at the spot. "You Can't Keep Running From My Love" struts along funkily, a fine mid-tempo groover, with Clay's famous raspy vocal wrapped all around the commanding lyrics, while "Precious, Precious" is all-out party down R&B-vibe; a rollicking gospel beat, incessant backup vocals and lazy (in a good way) horns.
Stax-songwriter Bettye Crutcher wrote the delicious, sweltering ballad "Home Is Where the Heart Is", a fantastically arranged gem (brilliant, 'twirling' guitar parts) that has Otis Clay gettin' down philosophically with that booming, smokey voice of his.
Then, out of nowhere, Otis and company hit you over the head with a finale of high powered, live-wired, greasy, delta-soaked funk; "Too Many Hands" (… in the pot, spoil the soup) is one of those great Southern metaphors set-to-music, and a great conclusion to this brooding, often beautifully sad LP
Best known for his longtime collaboration with R&B great Clarence Carter, Calvin Scott turned up on Stax just long enough for this awkward spiritual soul session, a shameless and wan stab to capture the sound and schtick of Ray Charles. The uncomfortably titled I'm Not Blind, I Just Can't See bears few of the classic Stax hallmarks, with backing unit the Jazz Crusaders settling for a half-baked deep-fried soul sensibility that fails to complement Scott's gritty vocals.
Tracks
a1 Sadness For Things 3.26
a2 Shame On The Family Name 2.50
a3 I've Made A Reservation 3.14
a4 Goodness Gracious 3.15
a5 Sweet Sixteen 6.20
b1 Goin' Back To Eden 3.30
b2 Can I Get a Witness 2.53
b3 Will you go with Me 3.36
b4 Never Found A Girl 2.39
b5 Gonna Make It This Time 3.44
b6 Whirlpool 3.09
Bonus
Clarence & Calvin – Thread The Needle
Clarence & Calvin – Rooster Knees & Rice
Clarence & Calvin – I Don't Know (School Girl)
Clarence & Calvin – Somebody Better Get Here Quick
Soul singer and pianist Calvin Scott started out as a partner of Clarence Carter before moving to record as a solo artist for Stax. Born in Tuskegee, AL, on January 6, 1938, Scott began playing the piano at age five, and first met Carter while attending a school for the blind in Talladega. Scott played several instruments in the school band, and formed a partnership with Carter. With the help of some older friends they'd impressed, the two got a record deal with Fairlane in 1961, but soon moved on to Duke. In 1965, recording under the name Clarence & Calvin, the duo cut several songs at the famed Muscle Shoals studios, one of which — the ballad "Step by Step" — was given a wider national release by Atlantic. The two assembled a small backing band and played regularly in Birmingham in 1966, but unfortunately, their partnership soon ended. Scott was seriously injured in a car accident after a gig one night, and wound up taking Carter to court for help paying his medical bills. Upon his recovery, Scott switched to the organ, formed his own band, and gigged around the South. He landed a solo deal with Atlantic, recording four songs over 1968-1969, and in 1971 he switched over to Stax. The following year, he recorded his first and only full-length album, I'm Not Blind, I Just Can't See, with Clarence Paul (Stevie Wonder, etc.) producing and members of the Jazz Crusaders supplying studio backing. Discouraged by the lack of promotion for the attendant singles "Shame on the Family Name" and "A Sadness for Things," Scott quit the music business and returned to Alabama, where he took a job with the state government and continued to perform on a local basis. Scott's son, Calvin Scott Jr., went on to become a smooth jazz saxophonist.
It's very dissapointing to find out that most of you downloading without taking the time to drop a line. There are more visitors but fewer comments. We work very hard to present quality post and we feel we deserve a little more respect. Anyway, enjoy the gems and bless you all, brothers and sisters.
