Funk my Soul

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4 Classic albums

These artists and albums are beyond reviews and info’s.

Four of the best records ever recorded in R’n'B Music.

A fine @320 CD rip.

Enjoy!

Still on vacations. I’ll be back in a few days with Jackie Moore and a lot of cool stuff.

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By the time you read this, I am off for some vacations.

This is a surprise post. I do not usually post “Greatest Hits” but you keep seek for more of this beloved sweet soul trio. So this rare double LP contains almost every single of The Moments. “Love on a Two Way Street”, “Sexy Mama”, “Not on the Outside”, “Look at Me(I’m In Love)”, etc. Even some of the lesser known songs are noteworthy and worth checking out. These boys from Jersey will not disappoint you!

The Moments typify the ‘Old Skool’ sound. Three-part harmony unmatched by many other groups of their time, or since, for that matter. The wailing first tenor of Billy Brown, the seductive second of Harry Ray, and the filling bottom supplied by Al Goodman makes for sheer listening pleasure. If you’ve never heard them, pick this one up, and you won’t want to put it down. The rest of you enjoy all the hits and more.

This is a fine @320 vinyl rip of the original Chess Record including covers.

Side 1
1. Not On The Outside 4.15
2. Sunday 2.30
3. Love On A Two-Way Street 3.30
4. I Do 3.05
5. Sexy Mama 3.05
Side 2
1. All I Have 3.30
2. Lovely Way She Loves 4.00
3. Lucky Me 3.40
4. Look At Me (I’m In Love) 3.35
5. I’ve Got to Keep On Loving You 4.40
Side 3
1. Somebody Loves You Baby 2.45
2. If I Didn’t Care 3.06
3. Girls 3.05
4. To You with Love 3.00
5. I’m So Lost 3.00
Side 4
1. Nine Times 4.40
2. With You 3.35
3. Just Because He Wants To Make Love (Doesn’t Mean He Loves You) 3.30
4. What’s Your Name 4.00
5. Gotta Find A Way 3.40

Against all the odds The Moments were one of the most consistent hit-making groups in the history of R&B. With a couple of exceptions, they recorded fairly formulaic sweet doo-wop-influenced soul during the funk and disco era for a label that didn’t have and sweetening on their records.

Nevertheless, The Moments and Ray, Goodman & Brown, as they later became known, had a string of R&B hits between the late 60s and the late 80s.

Mark Greene, Richard Gross and John Morgan, all from Washington, DC, signed to Joe and Sylvia Robinson’s All Platinum organization as The Moments in1968. Their first single, the pleading ballad “ Not On The Outside”, reached #13 on the R&B chart that year. However, Greece and Gross were fired by the label owners after a couple of gigs at the Apollo Theatre went badly. They were replaced by Billy Brown, who had previously been in The Broadways, and Al Goodman. The new line-up reached the R&B Top 10 the next year with the doo- woppy “ I Do”, but Morgan, the last original member of the group, was then replaced by Robinson’s brother-in –law John Moore.

With Moore the group recorded “ I’m So Lost” and “Lovely Way She Loves” in 1969, an their mega-hit, “Love On A Two-Way Street”, in 1970. With its cavernous echo surrounding a chanking guitar and gentle bass undertow, the production on “Love On A Two – Way Street” highlighted Brown’s wimpy falsetto, somehow suggesting that there was a full uptown orchestra behind him. It stayed at the top of the R&B chart for five weeks and reached #3 on the pop chart. However, just after the single was recorded, Moore left the group and was replaced by Harry Ray.

Ray sang lead on the group’s next hit, “ If I Didn’t Care”, while Brown took the lead on “ All I Have”. A string of faceless romantic ballads followed, before the release of the deliciously sleazy “ Sexy Mama” in 1973, which set an early rhythm box against a string section to create a groove that presaged disco. The next year’s “Sho Nuff Boogie”, a duet with Sylvia Robinson, also featured drum-machine experimentation. The Moments linked up with labelmates The Whatnauts to record the early disco favourite “Girls” in 1974, which hit #3 on the UK pop chart.

“Look At Me (I’m In Love)”, a typical Moment’s ballad with an unusually lush string arrangement, reached the top of the R&B chart. As hard as they tried with out- and- out funk tracks, such as “Come In Girl” from 1976’s Moments With You album, the group found it difficult to break a sweat. The disco years proved lean for The Moments, although they did manage to enter the UK Top 10 with “ Dolly My Love” and “Jack In The Box”. Times were also tough for All Platinum, and the group and the label parted company at the end of 1977.

As All Platinum owned The Moments’ name, when the group signed to Polydor in 1979 it was as Ray, Goodman & Brown. The trio hit immediately with “Special Lady”, a modern doo-wop record with a great hook.

However, aside from “ Another Day” – a favourite hip-hop sample thanks to its bouncy bass groove and spacey keyboard riff – the rest of their Polydor records were utterly nondescript doo-wop. Ray left the group in 1982 to pursue a solo career. His place was taken first by Kevin “Ray” Owens an then Wade Elliott, who stayed with the group until their chart hit “ Where Did You get That Body, baby?” in 1988.

Ray died of a stroke on October 1, 1992, but the group remained active on the oldies circuit throughout the 90s. In 2003 a line-up of Goodman, Brown, Owens an Larry “Ice” Winfree released two new albums, Intimate Moments and A Moment With Friends (a covers album), and they also performed backing vocals on Alicia Keys “ You Don’t Know My Name” the following year.

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Next post will be a 4 classic Soul/Funk albums together, to enjoy while i am away. Be good and do not forget to leave yours comments.

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I noticed that you love The Moments - throughout the late ’60s to the late ’70s, the Moments were one of the premier and loved groups in R&B - and keep asking me for more of their albums. So instead of giving you links in the c-box, I decided to post “Look At Me”. You can also dig “With you” album here.

In the spring of 75, the group would release the gorgeous, “Look At Me (I’m In Love)”. Harry Ray’s soft quiet melodic lead with the group’s great harmony background, and with it’s 12 strings and brass and French horn arrangements, makes you want to fall in love, even if you’re not in love !

The arrangements of the song was done by the late great Sammy Lowe (who did the string arrangements on James Brown’s classic hit of 1966, ” It’s A Man’s Man’s Man’s World” and many other hits).

“Look At Me” hit No 1 on the R&B charts for one week. Al Goodman composed the tune on his kitchen table in his home in Hackensack, NJ.

This is a fine @320 vinyl rip of the original Stang record including covers.

Tracks
A1. Look At Me (I’m In Love) 3.08
A2. Got to Get to Know You 3.35
A3. I Feel So Good Again 4.40
A4. I’ve Got the Need 3.47
A5. Come Away with Me 4.40
A6. Girls (French) 3.05
B1. Girls 3.05
B2. When the Morning Comes 3.25
B3. Just Having Your Love 2.47
B4. Look At Me (French) 3.08
B4. Beautiful Woman 3.18
B5. Dolly My Love 3.08

When this album was recorded (circa 1974), Billy Brown had been leading The Moments since the virtual beginning of their career.

Only the first single on the group, “Not On The Outside”, did not feature Brown (it was sung by Mark Greene). Billy’s ultra-high, sweet tenor led The Moments on so many great hits, the greatest being “Love On A Two-Way Street”. But at one point Billy and Al Goodman found themselves in need of a third member, and at that same time, Billy came down with a serious ailment of his throat.

The solution was to bring in Harry Ray to sing lead, while Billy concentrated on backgrounds to give his voice a chance to recover. Thus, the “Look At Me” album featured Ray throughout. The title cut led off the album and hit #1 R&B. As the guys were enjoying tremendous success in the European market, they also recorded the song in French, and Harry did a fine job of infusing his sensuality into the recording. Similarly, the popular club cut “Girls” (featuring The Whatnauts) was recorded in both languages. Ray expresses a very serious, very sincere male viewpoint on the album cuts “I Feel So Good Again” and “Come Away With Me”. These songs would definitely do when the lights are low, but on the other hand, “Got To Get To Know You” is the kind of lively, upbeat number that would have gone over well at the opening of a live performance. “Dolly My Love” was a major hit in Britain.

listen up the amazing “Look At Me (I’m In Love)

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This is a beautiful album from one of the greatest soul groups of all time!

The Soul Children were a wonderful Memphis (Stax) vocal group with a two parts female/two parts male vocal style that just sounded incredible. All the members of the group were great singers, and the overall sound was a mixture of rootsy southern soul, and sweeter harmony sounds.

“Best Of Two Worlds” is a great album ( recorded in Muscle Shoals, Detroit) by one of the sweetest vocal groups ever to come out of the south! The record’s a bit more complicated than some of their earlier ones, and features some nice tracks with a more extended style, and more sophisticated arrangements that work great with the group’s rich harmonies.

This is a @320 vinyl rip of the original Stax record including covers.

A rare one which we almost never see on vinyl. Released on cd twice with another of the albums of the group.

Tracks
A1 Bring It Here 2.47
A2 Thanks For A Precious Nothing 3.23
A3 Put Your World In My World 4.03
A4 Give Me One Good Reason Why 4.17
A5 Got To Get Away From It All 3.26
B1 The Hang Ups Of Holding On, Parts 1 & 2 8.22
B2 Wrap It Up Tonight 2.55
B3 Let’s Make A Sweet Thing Sweeter 4.37
B4 Finish Me Off 3.48
B5 Don’t Break Away 4.21

Produced by David Porter and Ronnie Williams

You can also dig their “Friction” album i’ve already posted. To me is their best.

This Memphis, Tennessee Stax Records mainstay was formed by Norman West (formerly of The Del-Rios), and included the talents of John Colbert aka J. Blackfoot, Anita Louis and Shelbra Bennett. The group was formed by Isaac Hayes and David Porter in order to fill the gap that Sam & Dave had left after parting from the Atlantic record label. They scored 15 R&B hits between 1968 and 1978.

Together, they have done six albums (three of them with Porter), and had a solid string of soul hits, worked with almost all the other Stax artists, and came through it all with smiles on their faces and good will in their hearts: the essence of soul.

In late ’67, while Stax was exploding as a powerful international force in contemporary black pop music, David Porter and Isaac Hayes decided to form a group. They’d worked with the different Soul Children on an individual basis, and had written some material specifically for a particular blend of voices.

“Each of us was asked to join the group, and Mr. Porter and Mr. Hayes were very careful to give us a couple of days to think it over. Well, it didn’t take a couple of days to decide!”

Group spokesman Norman West continues: “We all knew from the very beginning that we wanted to be on Stax. So we went into the studio, and David and Isaac just said, ‘Here, take this song, everybody find their voice on it.’ It clicked together instantly, like an automatic thing. It wasn’t until much later that I realized they’d approached it in a very scientific manner—getting the right voices together.” One voice of primary importance—at that time and at all times since—is the lead vocal of John “Blackfoot” Colbert. “Wilson Pickett was number one and James Brown was doing his Apollo thing, so naturally the roughness and the fullness of Blackfoot’s voice was essential. Nobody has to wonder who the lead singer is because Blackfoot just stands right on out!”

Their first album, The Soul Children, was released in 1968, containing their hits “I’ll Understand,” “The Sweeter He Is,” and “Tighten Up My Thang,”

Other Stax albums included Best of Two Worlds, Genesis, and Friction. “By that time Stax was beginning to have trouble, and then it became a matter of our survival. Unfortunately, there aren’t any books out there that you can check out of the library to figure out what to do. So you just know—keep singing, keep writing, and hope for the best.”

In early ’75, the Soul Children received a call from Epic. “I thought it was some kind of a bad joke,” laughs Norman. But after a half hour’s conversation, he began apologizing. The Soul Children signed with Epic and did two LPs. The first was Finders Keepers, produced by Detroit’s Don Davis. The second, Where Is Your Woman Tonite, was released in 1976 and was, again and most familiarly, produced by David Porter.

“Then, to take it full circle,” comments Blackfoot, “when David went with the new resurrected Stax, we were right there knocking on his door. After all, David heard our sound in his head before we even heard it ourselves!”

John “Blackfoot” Colbert is the lead vocalist with the Soul Children, and once you‘ve heard his distinctive gritty and gravelly voice you’re not likely to forget it.

‘J. Blackfoot’ is a nickname Colbert picked up during his early years, due to his habit of walking without footwear on the tarred sidewalks of Memphis during the hot summers. He spent six months as lead singer with a new line-up of The Bar-Kays after the original members were killed with Otis Redding in a plane crash. He later launched a solo career as J. Blackfoot with the single “Taxi”, which climbed into the R&B Top Ten in 1984.

Norman West hails from Monroe, Louisiana, and grew up singing and playing organ in his father’s church. While in high school, Norman won all the talent contests. Then, fearing his r&b activities were damaging his father’s Christian reputation, Norman went to Memphis and joined the Del Rios, replacing William Bell. He met and worked with the whole Memphis crew—Carla and Rufus Thomas, Willie Mitchell, Porter and Hayes, etc.

Whatever the Soul Children sing, their golden voices make even the most hackneyed cuts interesting.

Listen up their biggest hit “I’ll Be The Other Woman” from Friction album.

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Here’s another sweet soul must have album with very unique style.

Those who like groups like Black Ivory, Main Ingredient, Blue Magic, O’Jays or Stylistics, do not miss this one. It is special.

First Class, from Baltimore, only received sporadic play in the South and Midwest and next to nothing west of the Mississippi River. They were mainly popular in Philly, Jersey, New York City, and the Baltimore/Washington, D.C., area.

They recorded a few singles for Three Way, Today, Ebony Sound - most of them are including here as bonus - and then signed to All Platinum Records for their 1st album “Going First Class”

Tracks
A1 This Is It 6:27
A2 Filled With Desire 3:45
A3 Me And My Gemini 6:25
B1 Lady Of The Evening 5:28
B2 I’ve Got You / No Room For Another 3:35
B3 Foxy Lady 4:06
B4 Let’s Make Love 4:08

Bonus Tracks
1. What Is Life 4.01
2. What About Me 3.16
3. The Beginning Of The End 3.31
4. Don’t Know What You’re Doing 3.27
5. Baby (So Glad I’ve Got You) 4.20
6. Give Him Up 3.12
7. I Do 3.24
8. Nothing You Can Do 3.31

This is another fine contribution from our regular visitor Trakbuv who explains :

Here is a compilation of sorts of the great All Platinum outfit, First Class. It includes their 1976 LP, ‘Going First Class’ and an assortment of other tracks. It excludes their 1980 LP, ‘They Are First Class’. The tracks are of mixed quality, coming from several sources, but all very decent I feel. One source is the excellent ‘Battle Of The Bands’ CD featuring First Class & The Continental Four (highly recommended). I have used some of the inner sleeve notes to provide some background to this overlooked quartet.

“The group hailed from Baltimore and comprised Tony Yarborough and Harold Bell III (sharing leads), ably backed up by Fred M Brown and Sylvester Redditt. ‘What Is Life’ (Thereway 13778) was a marvellous first single, a dreamy slice of romantic philosophy. The next single, ‘What About Me’ (Today 1528), achieved a top 100 placing in the spring of ’74. A tender ballad, falsetto led, it featured a superb Bert De Coteaux arrangement. This was followed by a revival of The Unifics ‘The Beginning Of The End’ (Ebony Sounds) which reached no. 62 in the charts. The more orthodox slowie ‘Don’t Know What You’re Doing’ (Ebony Sounds 188) sadly didn’t do any over-the-counter business and First Class moved to New Jersey for their next releases.

Under staff writer/producer Tommy Keith, they came up with a strong debut album in 1976, ‘Going First Class’ (All Platinum 3018), from which two hit 45s were taken: ‘Me and My Gemini’ (All Platinum 2365) was an attractive, insidious mid-pace foottapper, followed by the similar ‘This Is It’ which also crept in the charts. I also have a soft spot for ‘Let’s Make Love’, a slightly funky beater featuring alternate falsetto/hard leads included on the LP. Around this time, they linked up with George Kerr and released the obscure ‘Softones & First Class Together’ LP on his own Park-Way International label. Despite some classy arrangements, this attractive collection didn’t sell – and neither did any of its 3 singles.

Their final release would appear to be back with All Platinum who issued ‘They Are First Class’ on Sugar Hill (255) in 1980.”

I hope that any lovers of sweet soul unfamiliar with the band will appreciate how wonderful and enduring these tracks are.

Listen up their wonderful 2nd single “What About Me”

Big thanks to Trakbuv for this great contribution introducing to most of us, a group which deserved to be more widely known. “Let the music play” as Barry White sang. These songs will touch your souls, brothers!

Enjoy, and let’s see your replies on the post and album.

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Groovy Emmanuel’s lessons on Soul and Funk continues : This is another fine chapter in the never ending story of east coast harmony soul music, as it came out in the 70’s. Black teenagers always had nothing but their voices to sing their hearts out. In this case, it is a new fusion of black rooted music that emerged from the 60’s and took shape in the 70’s under some heavenly vocal and instrumental arrangements made by some dedicated gentlemen like George Kerr, Tommy Keith and my goodness Norbert De Coteaux, the man responsible for the superb sound in the work of Main Ingredient, Marlena Shaw, the Manhattans, Linda Lewis and on and on and on… These men left some serious legacy for the next generation to deal with. It is no wonder that Sylvia Robinson of All Platinum marked another chapter of black culture in the late 70’s by introducing Rapper’s Delight to the world.

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The entire LP is in a soulful vein and everybody who likes deep, strong, soulful music that tugs at your heart will positively LOVE it!

At times a stirring soul balladeer, organist/vocalist Toussaint McCall doesn’t have a lengthy string of hits. But his 1967 version of “Nothing Takes The Place Of You” was among that year’s finest performances. It gave McCall his lone R&B hit, reaching number five. It was one of two singles he had that year for Ronn Records that clicked, the other being “I’ll Do It For You,” which made the Top 30. He has continued performing and recording for tiny Southern independents, but hasn’t returned to the charts.

This is a @320 Vinyl Rip of the original Ronn Records including covers.

Tracks
A1 I’ll Do You It For 2.41
A2 The Toussaint Shuffle 2.25
A3 Nothing Takes The Place Of You 3.15
A4 The Title Escapes Me 1.50
A5 (I Left My Heart) In San Francisco 3.49
A6 La Rea 1.49
B1 Step By Step 2.53
B2 Perhaps I Love You 2.18
B3 Shimmy 2.15
B4 I’m Undecided 2.03
B5 All For A Love Like You 2.45
B6 Summertime 2.08

A landmark bit of southern soul from the great Toussaint McCall a wonderfully talented singer, songwriter, and organist every bit as great as Otis Redding, James Carr, and other southern soul great of the 60s! This album is Toussaint’s strongest legacy, known best for its sublime title cut, and filled with gems that burn and bubble with a raw soul energy few other singers of the south could match! The set features some great funky instrumentals “Shimmy”, “Toussaint Shuffle”, and “The Title Escapes Me” plus the classic vocal number “Nothing Takes The Place Of You”, and the tracks “I’m Undecided”, “Step By Step”, “Perhaps I Love You”, and “La Rea” (Dusty Groove).

“…Deep soul doesn’t get much deeper than Toussaint McCall….NOTHING TAKES THE PLACE contains his career highlights, beginning with the eerie, mournful title ballad…” (Living Blues Magazine).

Listen Up “Nothing Takes The Place Of You”

Groovy Emmanuel gives the final touch with his comment : “These are the small things that big things are made of! As long as they remain as soulful and passionate as to motivate the shape of things to come. Tiny studios, small record labels, poor equipment, but yet what a great feeling can they produce! “Shimmy” is centered around some pounding Louisiana-syncopated drums that leave a little space enough for Toussaint to fill in a shimmering performance in his distorted B-3. Two pieces only, but yet it sounds like an orchestrated big band! On The other hand the man defines what deep soul vocals are all about. Excellent balancing. It was just 1967 and thank God this fine piece of southern music was heard all over America.”

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Awesome record!!! A Rare Soul Funk LP !!!

This is the original “Bubble Gum” RiteTrack LP of 1975 (sold later the same year to Pye In and released as “Falling In Love” with different cover - black with the lips). Includes the famous “bubble gum” classic break with its elastic basslines, the atmospheric feel of “Rule of Mind” and the killer “Falling in Love”.

The artwork on this release is infinitely better than the Pye release. As for the music, its a top notch funky soul lp. A must!!!!!!

This is a fine @320 vinyl rip of the original Rite Track LP including covers

Tracks
A1 Bubble Gum (2:12)
A2 Learn-N-To Live (3:33)
A3 Sexy Girl (3:23)
A4 Quit It (2:26)
A5 Falling In Love (6:43)
B1 Truth, Trust, Love & Happiness (3:31)
B2 Rule Of Mind (5:06)
B3 Suburban Blue (3:45)
B4 We Need Love (3:49)

9th Creation was one of the greatest funk bands of the 1970’s. The band was formed in 1970 by A.D. Burrise in Stockton, California, under the original name ‘Soul Struts’ and started out as many bands do: performing the music of others at local hotspots. In 1971, J.D. Burrise (brother of A.D.) joined the band and became the lead singer and bandleader. As bandleader, J.D. decided that it was time to change their name to ‘3rd Creation’ and felt it was important that they began creating original material. By 1972, with the help of then manager, Nat Pierce, ‘3rd Creation’ recorded their first LP at ‘Studio C’ in Stockton.

Within two months of completing their recordings, the band landed their first record deal with Sussex Records (the label that legendary Bill Withers built). As part of their deal with Sussex, the band was forced to change their name once again due to the fact that there was already an existing band with the ‘3rd Creation’ name. In attempting to retain part of the identity that the band had developed with their name and since there were nine members of the band at that time, the group decided on their final name: 9th Creation.

Within two months of signing with Sussex, ‘9th Creation’ released their first single, “Still Your Friend.” The song was an instant hit, charting Billboard’s top 25 and the band found immediate fame with their appearance on Soul Train. Little did they know that they were weeks away from being handed their first hard lesson in the music biz. Shortly after their instant success, Sussex Records went under and with it, so did the ‘9th Creation’s’ masters and their short-lived success.

Fortunately, this blow did not deter the band from wanting to push forward with their dreams of stardom. ‘9th Creation’ continued to work toward a second album. It would take three years and a lot of penny pinching before they found themselves back into a studio. They shopped a five-song demo to the major labels and with Warner Bros., landed what is referred to today as a development deal. From this deal, the song “Falling in Love” was recorded. Despite the fact that the band knew they had a hit single on their hands, Warner Bros. decided to pass on ‘9th Creation’, allowing them to take their masters with them.

Around that same time, a hometown DJ and co-author of the Gavin-Kraham Review (David Allen Kraham) received a copy of the single, “Falling in Love” and immediately knew that this song was going to be a hit. Rite Track Records emerged and released the single. Within a couple of weeks of being featured in the Gavin-Kraham Review, ‘9th Creation’ found instant success once again. “Falling in Love” charted Billboard’s R&B top 10 for 13 consecutive weeks and top 25 for 26 weeks thereafter. ‘9th Creation’ knew that this time success was theirs. The band soon found that they had another hard lesson to learn, this time in the world of distribution. The demand for their music was national, but they only had west-coast distribution and so decided to sign with ATV/Pye (the label later purchased by Michael Jackson) in order to obtain worldwide distribution. As fate would have it, lightening struck for a second time one year later when ATV/Pye closed shop in the United States.

The president of ATV/Pye’s US territory decided to open up his own record label, Prelude Records, and encouraged ‘9th Creation’ to follow. They did just that and recorded and released their third album, “Reaching for the Top”. After a year of frustration due to a lack of promotion and backing by the label, J.D. made a crucial decision: to buy their way out of their contract taking with them all rights, masters and publishing. From this, Burrise Way Productions was born.

Finally, ‘9th Creation’ felt as though they were in complete control of their destinies and knew that it was only a matter of time before success would be theirs again. It was then that disco took the world by storm and rained on any “funk” band on the rise. J.D. then made the decision to depart from the band, but ‘9th Creation’ pushed on with performing under the direction of A.D. once again. In 1986, J.D. decided to rejoin the band and once again they found themselves back into the studio. The R&B mini-album, “Love Crimes,” was recorded and released with little success. After an 18-year run, the members of ‘9th Creation’ decided to call it quits. Some went on to play in other bands, others never returned to the music world again.

Despite their unfortunate battles with stardom, ‘9th Creation’ did eventually achieve success through the endless list of R&B and hip hop bands that, to this day, continue to sample their music. They earned gold records from Def Jam’s hip hop band ‘3rd Base’ as well as for Pete Rock and C.L. Smooth’s sampling. To date, their song “Bubblegum” has been sampled 23 times, “Rule of Mind” 19 times, and “Falling in Love” has been re-made four times. The music of ‘9th Creation’ continues to live through the music of today, thus exemplifying that quality and excellence never dies…

Listen “Bubble Gum” and here is the 2nd pressing cover on Pye In label

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