Funk my Soul

Righteous vocals from Mary McCreary recorded here with some equally righteous help from DJ Rogers! Rogers handles production and helps with arrangements on the set and he does a great job of pulling Mary away from some of the more cliched modes of the Shelter label  helping her perfectly balance more spiritual roots with smoother 70s soul, in that perfect mix that DJ always hit with his own great records.

This is a @320 vinyl rip of the original Shelter Records LP including covers.

Tracks
A1   My Soul Is Satisfied (4:42)
A2   Can You Catch Me (2:00)
A3   Jessie And Bessie (2:14)
A4   God Is Always Near (3:36)
A5   Evil Woman (2:53)
B1   Butterflies In Heaven (2:22)
B2   Rudi Poot (3:13)
B3   My Love Is Real (2:22)
B4   Mirror (4:20)

Here’s a hard-to-find SOUL SISTER LP - from the lady you might remember as the wife of Leon Russell. “After Sylvester Stewart adopted the name Sly Stone, he formed The Stones in 1966. Then Sly changed the name to Sly & The Family Stone. Both groups included Cynthia Robinson, Freddie Stone, Larry Graham, Greg Errico, Jerry Martini, and Rosie Stone. Sly Stone, also, created a backup vocal group called Little Sister which included Vet Stone, Eva Mouton, and Mary McCreary.

Between 1971 and 1972 Mary toured and recorded with major recording artists. Mary’s debut solo album Butterflies in Heaven was released in 1973, when she signed with Shelter Records under Mary Rand / McCreary. 1974 was a busy year for Mary McCreary, as she released her second solo album on Shelter Records, Jezebel and she also recorded with Leon Russell on the album Will O the Wisp. In 1975 Mary and Leon Russell released The Wedding Album,and were the Musical Guest on Saturday Night Live May 15 1976. Followed by Make Love To The Music in 1977. Mary Russell released her third solo album, Heart of Fire, in 1978 on Warner Bros Records. In 1980 Mary accompanied Bob Dylan on the Saved Tour. Mary Rand released her CD “Still Together” in 2005. She is Currently putting the finishing touches on her upcoming CD “Love and Praise ” which will be out around Christmas 2008

You can buy Mary McCreary’s vinyl albums here, and listen the only available video on youtube : “Soothe Me”.

Download link

Bookmark this post to:

If you love Luther Vandross, then you will simply adore Mr. DJ Rogers, as Luther, DJ Rogers is also a tenor, with an smooth incredible range. DJ Rogers balladry, simply put must heard, it reaches the heart and kidney. DJ Rogers has been truly blessed by the True God to sing. This guy never had the air play he deserved.

It’s hard to understand why the very first album of gospel-inflected soul singer, songwriter and keyboardist D.J. Rogers, a kind of forgotten Sly Stone brother, hasn’t be reissued yet. The album was released on the Shelter label in 1973, but the project failed, mostly due to the label’s withdrawal of funds to the group who was trying to promote the record with shows in their Los Angeles hometown and around. From what I understand Shelter had been dropped by its distributor Capitol/EMI to find a deal only the next year with MCA Records… This was just not the right time, right place. Anyway Capitol bought the Shelter catalogue in 1993, so there’s still hope for this forgotten soul classic to see the light of day again!

This is a @320 vinyl rip of the original Shelter Records LP including covers.

Tracks
A1. Listen to the Message 3:43
A2. Where There’s a Will 3:27
A3. Take Time 5:12
A4. Watch Out for the Riders 3:11
A5. March On 3:09
B1. Celebration 3:52
B2. It’s All Over 4:33
B3. Don’t You Want to Ride 8:07
B4. Ball Out 4:20

This early release from D.J. Rogers is one of his best. Cut for the Shelter label in 1973, before Rogers gained some exposure on RCA and Columbia, the eponymous album features plenty of the gospel-inflected soul the singer/producer/arranger would become known for. In fact, the bulk here is squarely bent on the kind of community-driven positivism found in the black church (”March On,” “Where There’s a Will”). And the music certainly reflects the lofty sentiments, as strings, choral singing, and urbane soul grooves ensure a truly inspired mix; this blend is especially well essayed on the extended, heaven-bound travelogue “Don’t You Want to Ride.”

A soul classic that’s unfortunately still buried in album-bin oblivion.

Never released on CD and i can not find any vinyl available for sell.

You can also listen his 1976 “On The Road again” album here which voted in the best 100 Soul Albums of all time by Mojo Magazine.

Download link

Bookmark this post to:

Monster rare soul/funk/record

This is an essential lp to get in any funkysoul collections. Raw bass, crazy beat with many breaks. Really killer.

A holy grail of funky music the one and only album ever cut by Marie Queenie Lyons, a heck of a hard soul single who’s best known for her rare funky 45s! The album is stunning every bit as great as any of Marie’s singles, and with an incredibly unified sound that should have made the album an instant soul classic as soon as it was released. Think Marva Whitney, Vicki Anderson, Lyn Collins, and other sock-soul divas and you’ve only got part of the picture! Plus, some of the tracks on the set were written by a young Don Pullen, who supposedly also played on the record in a rare funky appearance in his pre-avant jazz days.

This is a @320 vinyl rip of the original Deluxe Records LP including covers.

Tracks
A1 See and Don’t See 3.20
A2 Daddy’s House 3.14
A3 You Used Me 3.38
A4 Your Thing Ain’t No Good Without My Thing 2.27
A5 Snake in the Grass 2.42
A6 Your Key Don’t Fit It Anymore 2.38

B1 Fever 5.25
B2 I Don’t Want Anybody to Have It But You 3.02
B3 We’ll Cry Together 3.15
B4 I’ll Drown in My Tears 3.50
B5 I Want My Freedom 4.35
B6 Try Me 2.38

Released in 1970 on James Brown’s King/Deluxe label, this album was Marie Queenie Lyons first and last effort—she disappeared shortly after its release. That’s unfortunate, because Lyons had an exceptional voice, able to instantly shift from a sultry croon on “Daddy’s House” to the gospel shout of “I’ll Drown in My Own Tears.” Another strength is her unbridled fury, which keys ribald tracks like “Your Key Don’t Fit It No More” and “I Don’t Want Nobody to Have It but You.” Plus, her take on the Godfather’s “Try Me” aches to the bone. These days, such truthful artistry is long gone: 38 years later, Soul Fever’s cover—a beautiful black face, surrounded by encroaching darkness, struggling to be seen—has become a sadly apt metaphor for modern-day soul.

it is almost impossible to find an original copy under 120 usd as you can check vinyl recently sold here. There’s a lot of copies sold more than 350 usd. So you can buy the cd here or a reissue vinyl here.

Listen Marie Queenie Lyons - “See, And Don’t See”

you can also Watch “Fever“ YouTube clip

Download link

Bookmark this post to:

Barbara Lewis - 1965 - Baby I’m yours

Barbara was a less dramatic singer than label mate Aretha Franklin, but she was a top quality soul singer with a wonderful, clear, soprano voice. She had three big American hits, these being “Hello stranger”, “Baby I’m yours” and “Puppy Love”.

Barbara Lewis is one of many singers who have largely been forgotten. This early album proves that she had the talent to be a major star. If you enjoy sixties soul music and you want to look beyond the famous names, this is for you.

Tracks
A1 Baby I’m Yours 2:28
A2 My Heart Went Do Dat Da 2:20
A3 Come Home 2:35
A4 Think a Little Sugar 2:19
A5 If You Love Her 2:13
A6 Stop That Girl 2:29
B1 Puppy Love 2:24
B2 Hello Stranger 2:42
B3 Someday We’re Gonna Love Again 2:02
B4 Snap Your Fingers 2:46
B5 How Can I Say Goodbye 2:47
B6 Straighten up Your Heart 2.24

No singular adjective does justice to Barbara Lewis’ voice. Her delivery was silky smooth. And while her sound was somewhat sweet, she had a soulfullness that always kept her recordings from getting sappy. Today, she is mostly forgotten by the general public, which is a huge shame. Lewis had her own niche, somewhere between the light pop sounds of Diana Ross and Dionne Warwick, and the fiery soul of Aretha Franklin and Gladys Knight.

Barbara Lewis had a couple of unforgettable hits that no oldies station can do without: “Hello Stranger” and “Baby, I’m Yours.” She is noteworthy just for those two songs, but she recorded a number of other pop/soul gems, and has become a legend in Beach Music circles.

Download link

—————————————————————

Barbara Lewis - 1968 - Workin’ On A Groovy Thing

A record that was issued quite a few years after Barbara Lewis’ debut for Atlantic, but a set that’s equally great thanks to some impeccable production from the great Ollie McLaughlin! The set’s got a sound that’s a bit more upbeat and soaring than some of Lewis’ earlier work a groove that’s clearly picked up the Detroit styles of the late 60s, but which still retains all the careful classic that Barbara brought to her music. Very sweet, very soulful, and an essential piece of 60’s soul.

Tracks
A1 I’ll Keep Believin’ 2.44
A2 Workin’ on a Groovy Thing 3.02
A3 Make Me Your Baby 2.30
A4 Girls Need Loving Care 2.40
A5 I Remember the Feeling 2.30
A6 Baby, What You Want Me to Do 2.45
B1 Make Me Belong to You 2.27
B2 Love Makes the World Go ‘Round 2.47
B3 I’ll Make Him Love Me 2.17
B4 Only All the Time 2.06
B5 Sho-Nuff (It’s Got to Be Your Love) 2.33
B6 Thankful 2.44

Barbara Lewis was a hit crossover Soul-Pop success in the 1960s. She was born and started her career in Michigan, but really broke through when she moved to New York City and started working with Jerry Wexler who added some orchestration behind her. That’s the sound you find on Workin On A Groovy Thing. Where she puts all those elements together is on I’ll Keep Believin with plenty of strings and some subtle horns. The rest tend to be lighter numbers but still good such as Workin On A Groovy Thing, I Remember The Feeling, and Make Me Belong To You. The best track might be Sho-Nuff with an uplifting feel and a stripped down Soul rhythm.

Download link

Bookmark this post to:

This is another fine contribution by Mr. Moo.

A classic bit of uptempo funk for the dancefloor and one of the tightest records from the time on Prelude! The group have a sound that’s partly in the Earth Wind & Fire ensemble mode and partly in the early disco style of other east coast groups augmented by just the right touch of strings to give them a nice full sound. The instrumentation’s all pretty nice, with lots of strong sax solos and other nice breakaway bits and titles include “I Am Music”, “Hustle Bus Stop”, “Mother Nature”, and “Runnin’ Away from Love”.

This is a @256 vinyl rip of the original Prelude Records including covers.

Tracks
A1. I Am Music (3:53)
A2. Hustle Bus Stop (4:41)
A3. Free And Wild (5:24)
A4. Disco Party In The Street (4:12)
B1. Mother Nature (5:24)
B2. Runnin’ Away (4:09)
B3. Mastermind (6:04)
Produced by Danny Weiss
Executive Producer: Coolidge Abel-Bey

Mastermind are: Anselm Scrubb (trumpet, vocals), Mario Ford (baritone, tenor sax), Guy Fuertes (tenor sax, flute), Juan Clouden (percussion), Wendell Derrick (vocals, percussion), Lenny White (alto sax, flute), Joe Frye (guitar, vocals), Geoffrey Williams (keyboards, vocals), Brian Wilson (drums, vocals), Carl Bain (bass, vocals)

When R&B went high-tech in the ’80s, genuine bands became harder and harder to find. There were still plenty of groups in the ’80s and ’90s, although honest-to-God bands that had nine or ten members and boasted full horn sections became the exception instead of the rule. When Cameo and the Ohio Players downsized in the ’80s, you knew that large funk bands were becoming an endangered species. But back in 1977, when Mastermind’s first and only album came out on Prelude, R&B was still full of large, horn-driven bands. Listening to this enjoyable, if uneven, LP, you won’t be blown away by the singing — Mastermind didn’t have a great lead vocalist like Earth, Wind & Fire’s Philip Bailey, L.T.D.’s Jeffrey Osborne, or the Commodores’ Lionel Richie to win you over. What you will appreciate is the overall sound of the band and the horn-driven, jazz-influenced, very danceable funk grooves — cuts like “Mother Nature,” “I Am Music,” and “Hustle Bus Stop” could easily appeal to fans of Brass Construction, Mass Production, the Crown Heights Affair, or BT Express. Several jazz musicians are employed as guests, including saxman David Sanborn, trumpeter Jon Faddis, and guitarist Steve Khan. But none of them do a great deal of improvising — they’re only on board to support Mastermind, whose LP wasn’t a big seller and has long been out of print but is worth acquiring if, by some chance, you come across a copy somewhere. (Alex Henderson, All Music Guide)

You can buy the vinyl here or the cd here .

Download link

Bookmark this post to:

Ann Sexton is one of a few lesser known southern soul female artists, recorded a series of fine soul records for the legendary Nashville soul DJ / label-owner, the late John Richbourg a.k.a. John R.

I was after this wonderful record for years. You can check the prices sold here. Finally i put my hands on it lately and i’m really happy to share it with you.

This is @320 vinyl rip of the original Sound Stage 7 Records including covers.

Tracks
A1. I Had A Fight With Love 3.46
A2. I’m His Wife (You’re Just A Friend) 2.55
A3. Who’s Gonna Love You 3.01
A4. You Can’t Lose With the Stuff I Use 4.38
B1. Color My world Blue 2.45
B2. Be Serious 3.56
B3. I Want To Be Loved 3.08
B4. Sugar Daddy 3.59
B5. You’ve Been Doing Me Wrong For So Long 2.55

Review by Trakbuv

Ann Sexton is a woefully neglected Southern Soul songstress. Born on 5th February, 1950, Greenville, South Carolina, she trained her poignant vocal style testifying to the Lord. She married young and, together with her new beau, began spreading her vocal chords at local venues. In 1971, she was spotted by songwriter/producer David Lee who cut several tracks with her. On his ‘You’re letting me down’, Ann conveys her devastation in a manner worthy of the similarly styled Candi Staton or Bettye Swann. He also provided her with the glorious chugging ‘You’ve been gone too long’, a long-time favourite with this scribe, and a Northern Soul classic. Initially released on Lee’s Impel imprint, they were to be later issued on 77 Records, owned by the Nashville soul DJ, John Richbourg. Her first album, ‘Loving You, Loving Me’, was subsequently released in 1973, containing both aforementioned tunes, and her biggest hit, Paul Kelly’s funky ‘You’re gonna miss me’, climbing to #47 in the Soul Charts during September of 1973.

Recording sessions continued, now operating mainly out out of Memphis, with both Lee and Richbourg at the helm. However her follow-up 33 didn’t ship until 1977, released now on Sound Stage 7, the 77 label having folded. Lots of 3’s and 7’s there. Recorded in Muscle Shoals, this is a very good example of the style that supreme Southern Soul had come to adopt: a mix of groovers and pleaders. I gather that the shuffling ‘Colour my world blue’ is popular on the Modern Soul scene, and its easy to see why with Ann’s efferevescent interpretation. The only track I was already familiar with is ‘I’m his wife’, a very smartly produced two-stepper, and perfect meat for Ann to lock her incisors around. I recall back in 1978 thinking that Barbara Mason’s ‘I am your woman, she is your wife’ was its answer record. However, I can find no evidence to support my supposition.

And how can one resist her persistant plea of ‘I want to be loved’, a bluesy dream of a track ? Irresistable ! The midtempo ‘Who’s gonna love you’ adds an extra dimension with a touch of the Thom Bell’s. Gorgeous. And my favourite needle drop ? ‘Be serious’. The opening few bars are worth the entrance fee, a magical mix of guitar and strings paving the way for Ann to let her quivering tones captivate your heart. Can’t get enough if this one. The funkier cuts like ‘You can’t lose’ and ‘I had a fight’ are very welcome additions, and bring a closer comparison to Candi Staton at her contemporary best.

Having been a stranger to the stage for some 30 years, she was recently persuaded back by German DJ and promoter, Dan Dombrowe, after being re-discovered by Sonny Hudson while working in a Bronx school. Since 2007, she has become a regular at the annual Baltic Soul Weekender in Germany, and is booked in for the next one in 2009 (April 24-26). She has been reported to wish to return to this venue ‘as long as she is living’. What’s not to admire about this super-talented, super-ignored legend ?

You can buy the vinyl here or here and

listen up “Be Serious”

Download link

Bookmark this post to:

A mountain of a man quiet and soft spoken, with one of the most unique voices in music today, Aaron Neville sings with a raw and haunting beauty.

Definitely “Tell It Like It Is” is one of my 20 best songs ever.

Here’s the original album that Aaron’s signature song is derived and if you think it’s the only hit on the album, you’re dead wrong. I bought this LP strictly to have the original version of Tell It Like It Is and was pleasantly surprised to find out what a great album this was. This is THE VOICE’s first solo album, now that it’s done up right, what are you waiting for? This is a must have for any fan of New Orleans R&B.

Tracks
A1. Tell It Like It Is 2.46
A2. Why Worry 2.39
A3. She Took You for a Ride 3.25
A4. A Hard Nut to Crack 2.36
A5. You Think You’re So Smart 2.42
A6. Jailhouse 3.28
B1. Bet You’re Surprised 3.00
B2. Love, Love, Love 3.28
B3. Since You’re Gone 2.29
B4. Space Man 2.46
B5. Hold on, Help Is on the Way 2.24

Here’s album review by Trakbuv

Before getting to the platter that matters, it is worth tracing a brief history of the enduring fellow. Born January 24, 1941 in New Orleans, as a boy he was enthused with music from the likes of Nat King Cole, Sarah Vaughan, Sam Cooke, and ‘cowboy’ yodlers such as Gene Autry. However, his youth was fraught with difficult choices that lead to him having spent some time in jail and getting married, all by the tender age of 17. About this time, his oldest brother, Art (Aaron being the second youngest of the four) left the Hawkettes to joint the Navy, giving Aaron the opportunity to take centre stage as replacement.

He then had a brief period at Minit Records at the turn of the 60s, recording over a dozen tracks written by himself and/or Allen Toussaint. But although this caused considerable local interest, the need to break further afield was thwarted. At this point, Aaron was struggling with a heroine addiction and the associated crime to fund the habit, which didn’t get any easier when he moved to Los Angeles. However, a tussle with the law during a shop break-in, by his own confession, became a turning point in Aaron’s, thus far, chequered life and his desire to kick the habit. Then in 1965, his music career also took a turn. “I was digging ditches when this cat told me about this new label, Par-lo,” recalls Aaron, “I went over to Cosimo’s studio (back in New Orleans) and cut ‘Tell It Like It Is’.” The record kissed the skies, reaching no. 1 and 2 in the Soul and Pop charts, respectively.

Well, the album leads with the inimitable ‘Tell it like it is’ - surely Aaron’s hymn. The gentle presence of horns supporting not competing with Aaron’s delicate pleading refrain is indicative of the whole album. The imploring ‘You think you’re so smart’ is another plodding gem, and while the instrumental, ‘Bet you’re surprised’ (featuring Deacon John Moore on guitar) nods assuredly to the title track, it has a magic all of its own.

Original “Tell It Like It Is”

In the strident tambourine of ‘Hard nut’, there is one of my favourite cuts, and coupled with the funky bop of ‘Why Worry’ and the cooking ‘Hold on’, they all conjure images of a swaying crowd on Soul Train. The bluesy marching ‘Jailhouse’ is maybe too close to comfort to his personal dues, but still another slice of perfection. The exceptional beauty of ‘Love, Love, Love’, ‘She took you for a ride’ and the terrific arrangement of ‘Since You’re gone’ (my personal favourite) all give Aaron a chance to croon on a bittersweet cloud of deft harmonies that is perfect host to his vocals. Truly wonderful, and a side of him I had not appreciated until now.
The album was produced by Alvin “Red” Tyler and Warren T Parker, Jr. I was very impressed how they managed to keep Aaron’s voice so effortlessly centred while employing relatively complex arrangements. Surely a technical masterpiece in sound. In closing, I would like to re-iterate how the man appeared to defy his difficult upbringing, and through it all, somehow came to define the shimmering, angelic voice we have been blessed to enjoy.

Biography and discography here. You can buy original vinyl here and the cd reissue here.

Aaron sings Live “Tell It Like It Is”

Download link

Bookmark this post to: