Funk my Soul

The Controllers were among the most underrated and overlooked ’70s soul groups. They didn’t generate nearly as much publicity or have as much crossover success as fellow Alabama performers the Commodores, but their slow songs were far more earthy and explosive. Their reflective “Somebody’s Gotta Win” eloquently and passionately delivered by lead singer Reginald McArthur, stands tall amongst the set’s more Southern-flavored offerings. This album was a solid hit with R&B and Southern soul audiences, and still retains plenty of power. Collectables later reissued this album as part of their Golden Classics series.

This is a @320 vinyl rip of the original Juanna Records LP, including covers. You can buy a vinyl copy here or a cd copy here.

Tracks:
A1 People Want Music 5:01
A2 Heaven Is One Step Away 7:13
A3 This Train 3:56
B1 You Ain’t Fooling Me 3:19
B2 Somebody’s Gotta Win 8:00
B3 The Reaper 4:16
B4 Sho Nuff A Blessin 4:20

Credits:
Arranged By [Horns And Strings] - Wardell Quezergue
Horns - Muscle Shoals Horns
Producer - Frederick Knight

Alabama soul belters the Controllers began as the Epics in 1965. They became the Soul Controllers in 1970, and finally the Controllers. Reginald and Larry McArthur, Lenard Brown, and Ricky Lewis formed the lineup, and were especially effective on heartache ballads, though they also did competent up-tempo dance numbers. They relocated to Miami in the late ’70s and began recording for Juana. Frederick Knight produced some of their material, including the 1977 debut LP Somebody’s Gotta Win, Somebody’s Gotta Lose. They enjoyed moderate success with other Juana singles and LPs, though both “Heaven Is Only One Step Away” and “We Don’t” were outstanding performances. They moved to MCA in 1984. Stevie Wonder made a guest appearance on harmonica for their first MCA single, “Crushed,” which reached number 30 on the R&B charts. Their biggest MCA hit was “Stay,” which peaked at number 12 in 1986. They moved to Capitol in 1988, issuing Just in Time that year.

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People’s Reviews

1

“Heaven Is Only One Step Away” has got to be one of the most breathtaking , soulstirring ballads of our time ,why it never made it into the worldwide mainstream is beyond me but that just makes it all that more beautiful when one finds a gem of a song like this and then later on down another fabulous gem of a song “Somebody’s gotta win,somebody’s gotta lose” these guys should have been just as famous as the four tops, the temptations, the spinners, the isley brothers,on n’ on plus they should be playing on everybody’s stereo ,keep the soul baby!!!!

2

Now I don’t have this on disc at this time, but I will be purchasing it without a doubt. These guys made some bad bad slow jams. In fact when I start a Slow Jam Hall Of Fame they’ll be in it. They sing from the heart, emotive, deep soul. I remember when I bought their first album back in 77, “Somebody’s Gotta Win” was the lead off tear jeaker, with “Heaven Is Only One Step Away” following hot on it’s heels. In fact, a good friend of mine, at the time, got married to that very song, that’s how bad Heaven was, and still is actually. If you get a chance and can find The Controllers “The Timeless Collection” jump on it. Serious singing going on!

Listen up the awesome ballad “Heaven Is Only One Step Away”

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You can also enjoy producer’s Frederick Knight’s “Ive Been Lonely For So Long” album here

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This is another contribution by Groovy Emmanuel (i suppose you all know him) who express his feelings right away :

“1973 and what is finally left behind after a long period of time in which so many youngsters were so far away. What’s Going On in Marvin’s own words. Carole King put it that way in her million seller “Tapestry” lp : “Sometimes I wonder if I’m ever gonna make it home again, it’s so far and out of sight.”. Yeah, it’s out of sight but finally Back To The World for those who made it…

“The World” was what US GIs in Vietnam called America, and acclimating back into the world could be a harrowing experience. Curtis Mayfield addresses this problem in the title track to his 1973 album, Back to the World.

It’s never too easy coming back. And in 1973, Curtis felt something like this : “I am blind and I cannot see, You are there, your petty evil don’t bother me, Playing all the clothes you wear, Laugh at me, pressed and clean, and I don’t care.”. (”Right On For The Darkness”)

Hey, is there something less depressing in here? Yes brothers, Curtis’ emotional appeal, “If I Were Only a Child Again”. And Curtis’ own words: “This album I dedicate to my children and all children, for its through their eyes and the eyes of all those precious few, that maybe we, the grownups, can still make the world a better place for everyone to live”.

The album though it met mediocre reviews back then, it reached #1 in r’n'b and #16 in pop charts, and also included his minor hit “Future Shock”. The “World” seemed to understand and keep sharing these emotions.

With all due respect, this is for those, mostly kids then, who came so close to facing more than an average one can ever face in a lifetime, and moreover to those who finally made it home at last and had a more difficult task to fight against in their daily lives ever since.

Nuff said brothers, now enjoy it, and remember: Keep On Trippin’…or Keep On Keepin’ On.”

This is a fine @320 vinyl rip of the original Curtom Records LP, including covers.

Tracks:
A1 Back To The World (6:47)
A2 Future Shock (5:17)
A3 Right On For The Darkness (7:28)
B1 Future Song (Love A Good Woman, Love A Good Man) (5:00)
B2 If I Were Only A Child Again (2:52)
B3 Can’t Say Nothin’ (5:13)
B4 Keep On Trippin’ (3:16)

Pure genius from Curtis Mayfield and a record that’s got all the righteousness and political power you might guess from the cover! The album burns with a sense of empowerment that’s every bit the best strength of Curtom in the 70s a sublime blend of heavy soul, funky undercurrents, and far-reaching arrangements that still always manage to groove! And Curtis’ vocals are great too echoing out with a newfound presence that far surpasses the raspy quality of his early work with The Impressions. Arrangements are by Rich Tufo, production is by Mayfield (Dusty Groove)

People’s Reviews

1

This has always been one of my favorite Curtis Mayfield albums, even though I don’t think its his most popular (and it often goes out of print.) The reason is because its just so darn tight and funky - yet political (in that distinct Curtis Mayfield) way too. The tracks are so tight, its incredible… and not only is it heavy funk - but its a distinct type of funk that only Curtis was playing (and that’s hard to describe for the uninitiated.) I don’t know how to describe it… 100% Curtis = 94% JB, 6% Bob Marley ??? Really, you have to listen…

Overall, this is a great album because on one hand the instrumental tracks are kicking even if you’re not dancing, you can’t help but move, however, if you listen to it just for the lyrics, you can follow Mayfield’s lyrics from begining to end… in part because he had a unique style of lyric writing too that made him more of a political poet or even a pre-hip hop rapper more than a simple soul wailer or crooner (as was common in that era)(Eddie Landsberg)

2

This record has my alltime favorite curtis tune, and I love a whole lot of curtis tunes to death. When he says “it’s the educated people…making up the rules, holding back the schools” I couldn’t agree more. But much like his debut, Curtis, the hypnotic and apocolyptic (”hell below” on that one) is balanced by more upbeat stuff. Maybe the best Curtis cover art, too. (Johnny Thursday)

3

I remember first hearing this album during the Vietnam War. The poignant tracks were very relevant to the times, raised consciences and helped to ease the pain endured during the turbulent sixties and early seventies. The passing of Curtis Mayfield appears to have been a minor event. But his contributions to black society are immeasurable. In the history of the civil rights struggle, Curtis contributed immensely to the lifting of black self-worth. The lyrical skills exhibited by Curtis on this recording rival some of the greatest European and American poets. The musical composition further helps to envelope the listener in a blanket of tranquility. When you consider the baseline and percussion contained in Curtis’ solo albums the desire to dance immediately occurs. Curtis may longer be with us but a soul that could compose some beautiful music has to be in an eternal place that we all must aim to reach. If we had music of this caliber today the world would be a much peaceful place. I know you will enjoy this also. (Robert L. Harqett)

Enjoy the prophet of Soul Music singing “Future Shock”

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Thank you Groovy Emmanuel for the music and knowledge.

Enjoy Curtis’ wonderful “Roots” album here and Impressions’ “The Young Mods’ Forgotten Story here.

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Brothers and sisters, here is one of the best and respected (session) vocalists ever.

You can not imagine in how many hits, great songs and albums she is behind.
Madeline did back up for Dusty Sprinfield, and Dusty did background vocals (almost sounding duet-ish) on Madeline’s “I’M GONNA MAKE YOU LOVE ME”, her 3rd album but the first one to US.

Did you know that she took part in the amazing “With A Little Help From My Friends” with Joe Cocker, “You can’t always get what you want” with The Rolling Stones, “Every Picture Tells a Story” with Rod Stewart or “Power to the People” with John Lennon and Phil Spector, to name a few classics? Madeline also provided exhilarating vocal backing for Cliff Richard, Tom Jones, Scott Walker, Long John Baldry, Elton John, Donna Summer and many more singers too numerous to mention.

An American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink.

This is a @320 Vinyl rip of the original Phillips Record LP including covers. A rare one, never reissued and never released on CD. You can buy an original US copy here.

Tracks
A1. I’m Gonna Make You Love Me 2.54
A2. What the World Needs Now Is Love 2.50
A3. Climb Ev’ry Mountain 2.16
A4. Mercy, Mercy, Mercy 3.01
A5. One Step at a Time 2.09
A6. Last One to Be Loved 2.58
B1. Picture Me Gone 2.55
B2. I’m Gonna Leave You 2.59
B3. Can’t Get Used to Losing You 2.23
B4. Mr. Dream Merchant 2.41
B5. Baby I’ll Come Right Away 2.17

Madeline Bell first emerged in the mid-60s as confidant and chief backup singer to Dusty Springfield. At times their voices sounded uncannily alike, and, lifted in harmony, it was hard to figure out who was who. Bell went on to do a couple of solo LPs on which Dusty obligingly sang background, both a melange of uptown soul and show tunes, and had a sizeable hit with “I’m Gonna Make You Love Me,” nowadays better known in the chart-topping Diana Ross and The Supremes and The Temptations version. Bell re-surfaced a few years later as the leader of European pop band, Blue Mink, which was very popular internationally for a couple of years before shifting away from the limelight for many years and settling in The Netherlands.

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As perhaps the pre-eminent session singer of the past forty years, her instantly recognizable, warm and soulful tones have been floating across radio, television, film soundtracks, the internet and beyond for as long as anyone can remember. Today, with a second career as an internationally respected jazz vocalist, she is worthy of diva status. That’s a fact. Though she is by birth an American, Madeline Bell is truly a national treasure. Coupling tremendous material with sympathetic production, her body of work in the 1960’s has been criminally overlooked. These superlative recordings reveal a singer with enviable control, confidence and power; not to mention a range that runs the gamut from a seductive velvety purr to a full-throated gospel vibrato, from the sophisticated sob of a Dionne to the raw emotion of an Aretha. Based on the evidence presented here, if you had to use one word to describe Madeline Bell, it can only be authentic.

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Please read full biography and everything about Madeline here and an interview where she talks about Dusty, Elton John, John Lennon, Joe Cocker and so many artits she recorded with, here

Read the story of “I’m gonna Make You Love Me” song here.

Listen up Madeline performing the killer “Picture Me Gone”. Yes!!!! Dusty is doing the backing vocals. What a tune!!!!

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This post is dedicated to all these great session female vocalists of the sixties - Vicki Brown, Doris Troy, Kiki Dee, Lesley Duncan, Kaye Garner and of course my beloved Mrs. Madeline Bell.

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Jean Knight was a one hit wonder, but what a hit she had. Originally from New Orleans, Knight made her musical mark in Mississippi where Mr. Big Stuff was recorded at the Malaco Studios. Everyone should know the song with its catchy rhythm, horn line and sing along chorus. It’s one of my female Soul tunes. Ms. Knight wasn’t finished though. She also comes through with some slow numbers like “A Little Bit of Something (Is Better Than All of Nothing)” that has a little Blues tint to it, as well as more upbeat numbers like “Don’t Talk About Jody” and “Call Me Your Fool (If You Want To)”, and mid-tempo ones like “Take Him (You Can Have My Man)” with its nice groove.

This is a nice @320 vinyl rip of the original Stax Records LP including covers. You can buy the CD with bonus tracks here.

Tracks:
A1 Mr. Big Stuff 2.44
A2 A Little Bit Of Something (Is Better Than All Of Nothing) 3.19
A3 Don’t Talk About Jody 2.43
A4 Think It Over 4.47
A5 Take Him (You Can Have My Man) 2.30
B1 You City Slicker 2.52
B2 Why I Keep Living These Memories 2.52
B3 Call Me Your Fool (If You Want To) 3.04
B4 One-Way Ticket To Nowhere (It’s The End Of The Ride) 4.19
B5 Your Six-Bit Change 2.36

The Album Review

Jean Knight could do no wrong in 1971, when the strutting “Mr. Big Stuff” was climbing the pop and R&B charts, well on its way to becoming one of the most familiar chart hits of all time. Her debut album, with its no-brainer title, featured a lot of good material on it, not all of it in the same vein as her hit. Producer/arranger Wardell Quezergue (he also appeared on keyboards) handled the record well, with a band consisting of Malaco hands like guitarist Jerry Puckett and drummer James Stroud. Knight shows an admirable range on these songs, stretching out on the heartbroken ballads “A Little Bit of Something (Is Better Than All of Nothing)” and “Why I Keep Living These Memories” (each with a heavy church feel). “You City Slicker” was much too much of a “Mr. Big Stuff” sound-alike, but “Take Him (You Can Have My Man)” would’ve been a worthy follow-up to her only Top Ten hit. The CD reissue by Fantasy added a few of her later singles, including the charting “You Think You’re Hot Stuff” and the fine “Carry On.”

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Here’s a list of hip-hop songs that have sampled Mr. Big Stuff :

Beastie Boys: Johnny Ryall
CEO: Hit Me with the Beat
Del the Funky Homosapien: Pissin’ on Your Steps
Eazy-E: Boyz-N-the-Hood
Grandmaster Melle Mel ft Scorpio: Mr. Big Stuff
Heavy D: Mr. Big Stuff
Schoolly D: Mr. Big Dick
TLC: Switch
Deep Freeze Productions: Sleeper

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Biography

Soul singer Jean Knight’s only big hit was a monster — the sassy funk classic “Mr. Big Stuff,” one of the largest-selling singles ever released by the legendary Stax label. A native of New Orleans, Knight was born in 1943 and made her first recordings for producer Huey P. Meaux’s Jet Stream and Tribe labels during the mid- to late ’60s (many of her sides were later collected on West Side’s Blue Soul Belles, Vol. 2). Her success largely confined to the immediate area, Knight was working as a baker when she went to Malaco Studios in Jackson, MS, for a session with veteran producer Wardell Quezerque in 1970. The key track, a spirited putdown of male arrogance called “Mr. Big Stuff,” was shopped to Stax Records, who passed on it at first. However, after King Floyd’s “Groove Me” (another Malaco recording) went gold, Stax reconsidered and released “Mr. Big Stuff” in 1971. It was an enormous hit, spending five weeks at number one on the R&B charts and falling one slot short of the same position on the pop side. Despite a strong accompanying album of the same name and some similarly gritty follow-up singles (which included “You Think You’re Hot Stuff” and “Carry On”), Knight couldn’t manage to duplicate the success of “Mr. Big Stuff,” and quickly faded from the soul scene.
In 1981, Knight scored a minor hit with a version of “You Got the Papers (But I Got the Man),” and charted with one of the more successful covers of the Rockin’ Sidney zydeco smash “My Toot Toot” in 1985; “My Toot Toot” also served as the title track for a full-length LP on Mirage. Knight returned once again in the late ’90s, cutting an album for Ichiban in 1997 called Shaki De Boo-Tee. She followed it two years later with the Formaldehyde release Queen.

Listen Up “Mr.Big Stuff”

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Here we are again with a special guest post from brother Vincent The Soul Chef . I suppose most of you know him from his amazing work in Fufu Stew Blog and recently he joined 4BB as a regular contributor. A vinyl collector and a true music lover who explains :

Greetings from Fufu Stew, or as I like to say, Hello, kiddies.

It is a pleasure and a privilege for me to be able to come to you with this special guest post. I have been a fan of everything that Nikos has done here as well as his stellar work at Lost In Tyme, so when I saw the posts that he did for the Whatnauts, it only made sense to me to add another fine Baltimore act to the mix. Being a lifelong resident of Baltimore makes this guest post all the more special so without further ado, I bring to you one of my all time favourite albums from arguably the best sweet Soul group of Charm City, The Softones. This is their self titled release from 1973 as issued on Avco Records which has been a staple in my crates ever since I was a young child…

This is a perfect @320 vinyl rip of the original Avco Records including covers. Never released on CD (do not confused with their Greatest Hits Cd with the same cover).

Tracks
A1. The First Time 3.30
A2. Everybody Knew But Me 3.00
A3. Can’t Help Falling In Love 2.52
A4. Extra Ordinary People 2.54
A5. I’m Gonna Prove It 3.15
B1. Why Why Baby 5.18
B2. And I Remember Your Face 3.04
B3. Never Let A Woman Like That Go By 4.07
B4. My Dream 3.15

Now, this debut album is also one of my favorite soul albums ever. Furthermore, I agree with Vincent that The Softones was the best Sweet Soul Group From Baltimore (The Whatnauts and First Class are coming next). I was after this rare vinyl for a long time and finally last year put my hands on it. I almost like every tune on it but my fav songs are : “The First Time”, Everybody Knew but Me” and “My Dream”.

Since there’s no review for this album anywhere, here’s a part of a review of their Greatest Hits album which is very interesting and partly true:

As has been previously stated, there is much good music on this cd, so I will not expand on that. When the question(s) arise as to the reasons the group did not attain greater recognition and commercial success, in the writer’s opinion, I have a big question? Based on the talent of the group, their style, such a quality lead tenor, why didn’t the group end up being produced by the premier architects at that time of “East Coast Soul”, who were succesfully producing groups of this type….. the powers at Philadelphia International Records, or the likes of Thom Bell (Delfonics, Stylistics, Spinners, amongst others), Norman Harris, Vince Montana, etc., etc., etc., “The Philly Sound”? The importance of label and who produces a group is HUGE! The heart & soul of this group was East Coast sweet soul. For a group with this kind of talent, how not Philly, and the aforementioned legends??? As to why not? The writer doesn’t know. This group, placed in the hands of Thom Bell, or Gamble & Huff, what could have been!

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Bio

The Softones are a “sweet soul” group from the city of Baltimore, Maryland. Their biggest hits were: “My Dream”, “Can’t Help Falling in Love”, “I’m Gonna Prove It”, “Carla My Love”, and “That Old Black Magic”. They recorded for the Avco Records record label, in the early to mid 1970s. They were a very underrated singing group, whose initial breakout recordings were blessed with superb production. A single listen to the lush production of “My Dream” transforms you to another place, a magical kingdom, with the majestic use of strings and French horns that is this tune’s opening signature… in the same fashion as Thom Bell’s early arrangements for The Delfonics, the song “Didn’t I (Blow Your Mind This Time)” as an example. Lead singer Marvin Brown’s high falsetto, similar to that of Earth, Wind & Fire’s Philip Bailey, only higher and smoother and almost as instantly recognizable. Also in the group are Steven Jackson and Elton Lynch. To this date, they are still together and still singing.

Like The Stylistics, The Softones were also produced by Hugo Peretti, Luigi Creatore, Joseph E. Levine, and the late Van McCoy, whose orchestra, comprising the top New York session players of the era, served as the house band for many of these Avco recordings.

Listen up my beloved “The First Time”

I like to thank Vincent The Soul Chef for this excellent contribution, for one of the most underrated soul groups ever. Enjoy and let’s see your replies on the post and album and of course show your love to brother Vince.

You can also get their 1977 Black Magic album here

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This album is a true classic, an absolutely perfect blending of soul, calypso, funk, salsa and afro beat that is impossible not to stay still while listening to! It will always put a smile on your face and is constantly entertaining throughout. This album is heavily sampled in hip hop, for good reason!

A must have, brothers! Still sounds fresh! Read below the reviews and get it at once!

This is a fine @320 vinyl rip of the reissue Alston Records LP.

Tracks
A1 Funky Nassau (Part 1) 3:10
A2 Funky Nassau (Part 2) 3:20
A3 Come Down 2:20
A4 Sleep On Dream On 3:00
A5 Surrey Ride 4:29
B1 Monkey Tamarind 3:10
B2 In The Deep 4:50
B3 Pretty Girl (4:52)
B4 When She Made Me Promise 4:11

The Sites Reviews

1

A monster bit of funk that’s unlike anything else we can think of! Beginning Of The End hailed from The Bahamas, but don’t hold that against them because instead of being a Caribbean cliche, they took the best part of the island rhythms, and used them to forge an incredible approach to funk! They’ve got a choppy sound that’s the result of some incredibly dexterous guitar, bass, and drums and which you’ll recognize instantly from their one-time hit “Funky Nassau”, a killer funk track that never gets old, no matter how many bands cover it over the years! That gem kicks off the album, which then rolls into the monster funky “part 2″, which is even better! Other titles are equally wonderful and include “Come Down”, “Surrey Ride”, “Monkey Tamarind”, and “In The Deep”. Essential and one that you’ll be spinning for years! (Dusty Groove)

2

Thirty years after its maiden voyage, Funky Nassau sails again on a digitally remastered CD. Their number 15 pop smash “Funky Nassau Part 1 & 2″ is the cream of this hands-on production by the Bahamas natives. The nine cuts fuses island rhythms and American jazz/funk into a doable, choppy mixture featuring guitars, bass, drums, and scratch vocals. Misclassified as a disco band, the Beginning of the End served up breezy Phil Upchurch-esque sounds, with “Come Down” and “Surrey Ride” being prime examples (All Music).

People’s Reviews

1

You know, i thought at first when i heard FUNKY NASSAU that this was gonna be one of those albums where the song released (of course, they are considered “one hit wonders”.) is the first cut and the rest of the album just plain sucks!!!! i have never been so happy to be wrong in my whole unfulfilled LIFE!!!!! this is the type of funkiness that i have dreamt about for the vast majority of my life!!!! ESSENTIAL BOMPALICIOUSNESS!!!! if you like that raw HUMMAFUNK, then you will enjoy this immensely.

2

What do you get when you cross pure 60’s soul, uncut funk and fresh latin and calypso? The Beginning Of The End. A couple of years ago i organized a party for friends and family. People started dancing a bit, so i decided to play this one. A major freak-out was the result. Still powerful after all these years…..

3

First off, the album is along the lines of 70’s James Brown, War, etc, etc… It’s neat to hear how funk influenced music all over the world (I immediately think of Fela Kuti), and this album doesn’t disappoint. Every track is invocative of funk music, with plenty of brass, nice guitar solos, and I especially enjoyed the lead singer - he has an undeniable Caribbean accent, but it just adds to the uniqueness of the sound. I totally recommend this album to any fan of the JBs, the Meters, and the list could go on and on.

4

Great, I remember it well from back in the day. When it came out in 1971, I really grooved on how unique the sound was, compared to the other songs on the radio at the time. Never got tired of hearing it.

Finally, What an awesome musical arrangement, with various instruments working together in such harmony and musical genius!

So, do you want me to say more? Grab it and let us know what you feel in the comments section.

Don’t sleep!!!!!

Listen up the killer “Funky Nassau”

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A Southern Soul Masterpiece, brothers.

Lou Johnson’s Sweet Southern Soul is a solid album of journeyman soul. Recorded in 1969 for Atlantic offshoot Cotillion, the mix of ingredients is classic: production by Jerry Wexler and Tom Dowd, musical backing by the Muscle Shoals crew, songs by Don Covay, Eddie Hinton, and Curtis Mayfield. Indeed, the whole thing reads like a textbook to Southern soul in the late ’60s.

An incredible bit of southern soul and one of the few records ever by deep soul singer Lou Johnson! The masterpiece was recorded at the Fame Studios in Muscle Shoals, at a time when the outfit was at the height of its powers capturing Lou with a sweet-burning style that matches (if not betters) the best by Otis Redding or James Carr from the same period. Each song is a treasure, handled by Lou as if it were his own, and transformed completely by the amazing setting of the recording (Dusty Groove).

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

Tracks
A1 Rock Me Baby 2:15
A2 It’s in the Wind 2:26
A3 This Magic Moment 2:08
A4 She Thinks I Still Care 3:13
A5 Move and Groove Together 2:43
A6 Please Stay 2:48
B1 I Can’t Change 2:47
B2 Tears Tears Tears 2:37
B3 People in Love 2:39
B4 Don’t Play That Song (You Lied) 2:33
B5 Gypsy Woman 3:00

Lou Johnson never properly got his dues, which is a shame… The man could do it all, from Bacharach/David ballads to all-out hard socking Southern Soul. This album, recorded in Muscle Shoals and released on Atlantic’s subsidiary Cotillion, is a greatly overlooked LP that’s brimming with all that makes Southern Soul so irresistible.

Johnson doesn’t mess around and hits you right over the head from the get-go, strutting his way through a truly ridiculously funky rendition of the B.B. King classic “Rock Me Baby”. The groove is so thick and fat, you could cut it with a knife. One o’ them greasy, unwashed ones…

Lou’s smoothness is still very much in tact on Don Covay’s pensive “It’s in the Wind” - with its beautiful, gospel choir - and it’s truly dynamic on a zesty cover of the Drifters’ “This Magic Moment”, where Lou shifts from the tried-and-true R&B-stomp on the verses to funkier terrain on the chorus. His versatility is further demonstrated when he belts out the country chestnut “She Thinks I Still Care”, a huge hit for George Jones in 1962. The fingers get back to poppin’ with the mid-tempo soulful bliss of “Move and Groove Together”, after which Side A closes with an inspired reading of Bacharach’s “Please Stay”, which is smothered in blazing horns.It’s another Don Covay composition - and another considerably low key one at that - which opens the flip, as Johnson laments through “I Can’t Change”, featuring a brilliant, sizzling trumpet solo. While lyrically the mood remains particularly gloomy, “Tears Tears Tears” nonetheless is a fastpaced, rockin’ slab of brassy R&B.

One of the finest tracks on this magnificent album, the original “People in Love”, co-written by Eddie Hinton, has the feel of Bacharach and the grit of Muscle Shoals; a wonderful little country-soul-gospel hybrid with more of those deep horns and that fantastic backing choir.

“Don’t Play That Song (You Lied)”, a soul staple from the pen of Ahmet Ertegun, is souped up for late ’60s consumption, meaning the chord progressions remain the same, but the beat is funked up just a tad. Ain’t nothing wrong with that. The album in fact closes on a similar note, as Johnson puts his spin on Curtis Mayfield’s all-time classic “Gypsy Woman” the beat is juiced up considerably, and it’s all good.

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The high esteem in which Lou Johnson is held by soul collectors is sadly disproportionate to the size of his catalog he recorded only 10 singles and two albums in his ten year career. Sweet Southern Soul was his first album and, by common cognoscenti consensus, is also his best. Despite the fact that he started his career by working with Burt Bacharach and Hal David and recorded the original versions of several of their classic songs, not much is known about Lou Johnson. He doesn’t appear to have been interviewed in his prime. Fortunately, Johnson’s recorded legacy speaks volumes for his talent.

Listen up the Magic of Lou Johnson

Biography from AMG

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