Funk my Soul

This week we are pleased to showcase one of soul’s most endearing leading ladies.  This is the wonderful debut of Barbara Mason at the tender age of just eighteen.  The post comes courtesy of another loyal reader to Funk My Soul, Ricardo, who has generously provided this hard-to-find, but important musical inclusion to these pages.  It contains probably her most defining moment, the glorious title track, ‘Yes, I’m ready’.  Barbara of course went on to become an important and influential singer all through the seventies and into the early eighties with her sassy, bold and effervescent style.  Here we find Barbara still grooming those traits, and yet just as alluring because of it.  See what you think.

This is a @192 vinyl rip of the original Arctic Records LP including covers.

Tracks
A1. Yes, I’m Ready 3.03
A2. Come to Me 2.20
A3. You Got What It Takes 2.19
A4. Misty 2.24
A5. Something You Got 2.50
A6. Come See About Me 2.38
B1. Sad, Sad Girl 2.51
B2. Got to Get You off My Mind 2.07
B3. Keep Him  2.01
B4. Girls Have Feelings Too 2.57
B5. Moon River 3.02
B6. Trouble Child 2.43

Review by Trakbuv

Barbara Mason has become instantly identifiable as a ‘woman with attitude’, a phrase that has come to represent the fairer sex in these modern times.  She is not readily associated with an image of brittleness or uncertainty in her track record of provocative records with in-your-face lyrics, such as ‘Shackin’ up’, ‘From his woman to you’, or the outrageous ‘Another man’.  Nor in her sultry, evocative vocal delivery.  However, there was a time when she was vulnerable and starry-eyed, and that sweetness is beautifully captured on her debut album.  Born in Philadelphia in 1947, she first began developing her art while playing on Grandma’s piano.  Several victorious talent shows later, she got the chance to perform occasional spots for The Larks, at the behest of her next-door neighbour who just happened to be a band member.  He also introduced her to a local DJ, Jimmy Bishop, who part-financed her debut single, ‘Trouble Child’ on Crusader Records.  It introduced that impetuous girly approach of hers to the world on a slightly dawdling, but pleasant release nonetheless. Jimmy became a critical element in her early success, and a personal relationship that produced a son.  He secured a contract with Arctic Records which provided her first hit in ‘Girl’s have feelings too’, reaching #31 on the R&B charts – another track that sounds like there weren’t enough lyrics for each verse – but with a very catchy chorus line.

Her follow-up Arctic single was ‘Yes, I’m ready’ – and what must the company have been thinking upon its release to unsuspecting radio listeners ?  With its lush opening, sweet harmonies and Barbara strolling through the lyrics with a cutesy, whimsical sway, they must have got blisters from rubbing their hands.  Arguably, the most perfect frame for Barbara’s unique vocal approach, and one of the most adorable songs ever to be waxed.  Well, it sure ‘nuff cracked big time, reaching #2 and #5 in the R&B and Pop Charts, respectively, in 1965 (what record stopped it reaching number 1 in the R&B charts, I wonder ?).  It is sometimes regarded as the first ‘Philly’ record, boasting such luminaries as Bobby Eli, Earl Young and Jack Faith in session, and one Kenny Gamble on background vocals.  Also of interest is that the legendary PIR guitarist, Norman Harris, toured as her music director in the 60s, but was largely not allowed in the studio because he could not read music.  Using a similar formula for her all important third Arctic single, ‘Sad sad girl’ was a wonderful choice – those forlorn simple words delivered perfectly with Barbara’s slurred charm.  The song duly peaked at #12 on the R&B Billboard.

All four aforementioned tracks were penned by Barbara herself and were included on the 12-tracker LP that followed, entitled ‘Yes, I’m Ready’.  Examining the back cover suggests that she also wrote two further tracks on the album, as indicated by possessing the same publisher details. These are ‘Come to me’ and ‘Keep him’, the latter being surprisingly fresh with its intriguing keyboard intro/hook and double tracked vocals.  The remainder of the LP consists of a mix of standards and tracks unfamiliar to me.  Her versions of ‘Moon river’ and especially ‘Come see about me’ are strangely flat, and unnecessary inclusions for me.  However, ‘Misty’ does give a nice jazzy edge to Barbara that was a pleasant change of pace.  On the more meaty ‘Got to get you off my mind’, Barbara takes the opportunity to further develop those sassy phrasings we later came to expect.  Very mature.  ‘You got what it takes’ is a very nice track too, and a definite 45 contender if they had chosen to lift another track.

Clearly still finding her style – but to a large extent, her future vocal phrasings and diction were already there.  So in the closing words of the liner notes : ‘Listen and enjoy the most refreshing new female singer to come along in quite some time.  At the tender age of 18, Barbara Mason is a most unusual writer and vocalist’.  Run-of-the mill, she certainly ain’t !!

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For those interested, there is an excellent interview with the delectable lady here. There was a 1997 CD with all her Arctics releases (two albums and singles) but is deleted from everywhere I checked,  except one used copy, which is still available on ebay here. Original vinyl is hard to find and always goes more that 50 USD, so I guess it’s gonna take me a long time to buy it. Finally enjoy live the classic “Yes, I’m Ready”.

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Ricardo, thank you for this rare excellent contribution. You can also enjoy in our back pages here, my fav of Barbara Mason’s albums “Lady Love” with the great cover of “Me and Mrs Jones” among others.

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Wonderful stuff - and one of our favorite-ever Marvin Gaye albums! This is the legendary two-record set that Marvin wrote and recorded as an alimony payment to his ex-wife Anna Gordy. Although the album was thought of as a no-brainer quickie at the time - and predicted to fail so that Anna wouldn’t get any cash from it -the record is an extremely well-crafted one, filled with extremely personal songs that also have a warm soulful finish, in the style of Marvin’s work on the LP I Want You (which is kind of a nice bookend to this one - as it was an extended love poem to the young girlfriend that caused him to split up with Anna!) Hard and soulful, the record’s a searing testimony to the relationship between Marvin and Anna, and a painful document of the troubles between them - set to some mellow grooves that are easily some of Marvin’s greatest of the 70s! The set’s filled with great “lost” Marvin Gay songs, too - like “Sparrow”, “When Did You Stop Loving Me”, “Anger”, “You Can Leave, But It’s Going To Cost You”, and “Time to Get it Together”. (Dusty Groove)

Tracks
A1   Here, My Dear (2:48)
A2   I Met A Little Girl (4:58)
A3   When Did You Stop Loving Me, When Did I Stop Loving You (6:11)
A4  Anger (3:58)
B1   Is That Enough (7:42)
B2   Everybody Needs Love (5:41)
B3   Time To Get It Together (3:51)
C1  Sparrow (6:06)
C2   Anna’s Song (5:49)
C3   When Did You Stop Loving Me, When Did I Stop Loving You (Instrumental) (5:59)
D1   A Funky Space Reincarnation (8:12)
D2   You Can Leave, But It’s Going To Cost You (5:27)
D3   Falling In Love Again (4:36)
D4   When Did You Stop Loving Me, When Did I Stop Loving You (Reprise) (0:40)

Review by Trakbuv

The man that was Marvin Gaye – like so many gifted icons - shrouded in pain, misunderstanding, and ultimately doubt.  Primarily lauded for his 3 landmark LPs - ‘What’s Going On’, ‘Let’s Get It On, and ‘I Want You’ - he consummated his genius in exemplary fashion with music that is the best that speakers can offer.  Yet beneath all of this artistic exuberance lay a world in tatters.  His marriage to Anna Gordy, Berry Gordy’s sister, had become a public sham, with him moving in with Janis Hunter in 1973, and having two children by her in the following 2 years.  His marriage to Anna in 1964 had apparently been problematic from the outset, with Marvin reflecting that their “union was not marked by undying fidelity”.  The parading of 2 extramarital offspring was too much for Anna to bear, and she filed for divorce in 1975.  However, settlement proved to be an untidy affair and eventually a compromise was reached where the advance on the next album, and an agreed sum of the first earnings from that album, would go to Anna.

To quote Marvin : “I figured I’d do a quickie record - nothing heavy. Why should I break my neck when Anna was going to wind up with the money anyway ? But the more I lived with the notion of doing an album for Anna, the more it fascinated me.  It became a compulsion, I had to free myself of Anna, and I saw this as the way”.  In his words, the album became a personal venting of what their marriage had represented : “I sang and sang until I drained myself of everything I’d lived through”.  It apparently took 3 months to record, but was held back for over a year : “I was afraid to let it go”, remarked Marvin.   In his struggle to convey his feelings on record, Marvin ended up playing all keyboard components to the album : “I didn’t plan it that way.  It just turned out to be a hands-on project.  I’d never written music so personal”.

Pain, love, suffering, joy - the album epitomises the word ‘bittersweet’.  However, the deeply personal tone of the album was met, unremarkably, with a very lukewarm response.  Its overtly extravagant, almost nauseating cover design probably didn’t help.  It only possessed one possible single, the marvellously infectious ‘A funky space reincarnation’ which did cause some excitement on the disco floor.  But how many ‘Best Of’ compilations contain tracks from this LP ?  No, this - more so than any of his others – was an ALBUM experience.  Its gentle, consuming pathos is perfectly sublimated in the opening bars – this is Marvin Gaye at his most melancholic.  ‘I met a little girl’ recalls their meeting - he a tender 20, she 17 years his senior - and their subsequent passage from joy to pain.  Probably the saddest song I’ve ever heard is crafted so preciously in ‘When did you stop loving me’ - there is unearthly genius beseeching us here.  My favourite Marvin Gaye track of all time.  “Anger” subtly captures the cacophony of its title, effortlessly, and that break - ‘I don’t want to be mad, I don’t want to be feeling bad’ - fantastic.  Another one of my all-time MG faves - ‘Is that enough’ - extraordinary production, delivery, aura - this is what they call a burner, a jazz cooker - his frustration winding up slowly over it’s mammoth near 8 minutes while never faltering for a single micro moment.  The positive softness of ‘Everybody needs love’, the funky infidelity of ‘Time to get it together’, and then the fragile sorrow of ‘Sparrow’ - the freeform sax drawing salty tears from the vinyl.  Awesome !  Then one of those heart stopping moments - when he screams ‘Anna’ - it never fails to draw breath – enchanting.  And yet another one of my all-time MG’s - the off the planet funk of ‘You can leave’ - spunky sparring, jabbing and jostling with fire - and spitting sexiness - it’s that word genius again, but off the scale !  And as a deliberate focus of optimism, the penultimate track points to the life’s cyclic trap : ‘Falling in love again’.

I heard this LP deep in my hormonal teens - it seemed to capture something that my body and soul was struggling with - a bitter sweetness that comes with confusion, doubt, and the threat of freedom and independence – something that maybe Marvin shared.  I leave the final words for Anna : “It’s taken me a while, but with passage of time I’ve come to appreciate every form of Marvin’s music, even songs written in anger.  In the end, you know, when he was very sick, he came to see me often.  We stayed close”.
In the end, true love has no rules.

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Marvin Gaye quotations courtesy of his biographer, David Ritz. This is a must have album for any serious Soul-Funk collection. Let’s enjoy “Anger” while waiting for the album to download.

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Thanks Trakbuv for a very sentimental review! This album is so overwhelmed with feelings (Love, pain, anger..). Feel free to share them with us, along with your opinion about the album and post.

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Most of you are aware of Mr.Moo - I think he explained himself clearly on his blog.

So let’s enjoy his latest contribution, Clarence Reid’s debut (and best) LP, “Dancin’ With Nobody But You Babe”, recorded for Alston Records and distributed by Atlantic subsidiary Atco in ‘69. The album is a rarity for the time: an almost completely solid slab of lean, no-filler soul, back when even the greatest R&B; stars made stellar singles but middling albums. The clunky party vibe wasn’t too far off from that of Reid’s Texas labelmates, Archie Bell & The Drells–that is, if The Drells’ “Tighten Up”-strength hyperkinesis had been rendered slower, somewhat sultry, and super f***ing stoned. Keep an ear out for a couple of surprisingly excellent covers of Edwin Starr’s “25 Miles” and (believe it or not) a cringe-free version of The Beatles’ “Get Back.”

Tracks
A1   Nobody But You Babe (2:46)
A2   Twenty Five Miles (3:46)
A3   Doggone It (2:51)
A4  Get Back (3:54)
A5   Don’t Look Too Hard (2:20)
A6   I’ve Been Trying (2:26)
B1    Tear You A New Heart (2:55)
B2  Part Time Lover (1:57 )
B3  Shop Aroud (3:05 )
B4   Fools Are Not Born (2:09)
B5  Polk Salad Annie (3:55)
B6  Send Me Back My Money (2:21)

Singer/songwriter/producer Clarence Reid, like David Bowie and P-Funk’s George Clinton, had multiple musical personalities. One was of an earnest Southern soul singer, born February 14, 1945, in Cochran, GA, and recorded for TK Records president Henry Stone’s Alston imprint. His Billboard-charting singles were “Nobody but You Babe” (number seven R&B summer 1969, on the Atlantic LP), “Good Old Days” (early 1972), and “Funky Party” (summer 1974). He co-wrote hits for Betty Wright (”Girls Can’t Do What the Guys Do”), the million-selling “Clean Up Woman,” “Baby Sitter,” and “Let Me Be Your Lovemaker.” For Gwen McCrae, Reid co-wrote and co-produced “Rockin’ Chair,” which reached the pop Top Ten in 1975,
In his other persona, he performed X-rated material under the pseudonym Blowfly.   This was his biggest innovation, though–and one that would change the course of his life. His first recording as Blowfly, a 1965 song titled “Rap Dirty”, is considered by some to be the first rap song. But it wasn’t until 1971 that Reid got a band together, donned the mask, and laid down a whole album of the smutty stuff–which often times would parody hits of the day, only slathered with XXX-rated puns. Reid also helped Richard Finch get a job with TK Records and introduced Harry Wayne “K.C.” Casey to junkanoo, the festive party music that would be the core sound of Casey and Finch’s ’70s super group KC and the Sunshine Band.

This Henry Stone master (Alston Records) was handled by Atco Records for mass distribution and promotion, which didn’t happen to any great extent.. If you found this album in a record store north of the Mason-Dixon Line it was because of a shipping foul-up — unfortunate, because it’s one of Reid’s better endeavors. Recorded at the Zoo Recording Studio in Miami, FL, like most records under Stone’s family of labels, the recording was primitive, but in this case appealing. Reid updates “25 Miles,” “Shop Around,” and “I’ve Been Trying,” and adds some gritty Southern soul via “Nobody but You Baby,” “Send Me Back My Money,” and “Polk Salad Annie.” A prolific writer, Reid never really found his niche as a singer until he ventured into the novelty/party record scene as the outrageous Blowfly.

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The above info’s taken mainly from All Music Guide with some additional ‘first hand’ info (which in itself is quite an interesting read) here. The album is easily available on CD and (if you are lucky under 50 USD) on LP here

Now, for those who’ve never seen live Clarence Reid as his beloved persona Blowfly, enjoy one of the first rap songs ever: “Rap Dirty”

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The credit of this post goes 100% to Trakbuv. He had the idea to send me a link of his LP  which is special to him and here the introduction of his mail to me :

“I REALLY REALLY enjoyed writing this - I have taken an actual interview article (everything in “” is genuine) with the band promoting this particular LP, and added my own words as the fictitious Dwight Debussy. And those 2 ballads are so special to me - I can remember the day vividly I heard them on the radio, sat all on my own on a Saturday morning about 1am, everyone else having gone to bed. These moments can’t be described !!”

This is a @320 vinyl rip of the original Power Exchange LP including covers.

Tracks
A1   Who’s Gonna Love Me (5:09)
A2   You Better Take Time To Love (5:27)
A3   Where You Gonna Find Somebody Like Me (4:00)
A4   I Really Think We Can Make It Together (3:35)
B1   Dance With Me (5:47)
B2   Do What I Gotta Do (4:14)
B3   Can You Imagine (3:04)
B4   No One Makes Love Like You Do (5:00)

Review by Trakbuv

“Welcome dear listeners to Station W.E.F.O.N.K with your host, Dwight Debussy – remember ‘that’s soul with a double D’, y’all ! Hope you’ve been good, but not too good – if you know what I mean.  Well, this week we have the pleasure of the revitalised Imperials in our company.  Who ? Well, I thought the same thing, until someone told me that they were the Imperials of ……’Little Anthony & the Imperials’ fame !!  Well knock me out with a feather, whodda guessed ?  Well, let me see here – what does ‘Dwight Debussy’s Definitive Soul Guide’ have to say.  Mmm, my soul finger is flicking to ‘L’ – here we are !  Anthony Gourdine was born in New York City in 1940. At age 15, he joined a doowop group called the Duponts, but it folded a short time later. He then co-founded a group called the Chesters. They made one record, and subsequently changed their name to the Imperials at the suggestion of DJ Alan Freed.  Little Anthony and the Imperials then proceeded to sign a record deal with End Records. Their first single on that label - which proved to be their biggest song ever - was ‘Tears On My Pillow’ in 1958. Two years later they had another top forty song  with ‘Shimmy, Shimmy, Ko-Ko-Bop’. Blah, blah, blahdy blah…..hope you’re still awake out there, no sneaking off now.
So, without further ado, let’s introduce our fine guests.  We have Harold Jenkins, the newest member Bobby Wade, and Clarence Collins, who is one of the original members of the doo-wap band, and actually pre-dates stereo folks !!  So Bob, if you don’t mind me calling you Bob, what is it like working with folk old enough to be your granpappy ?

“Actually, I think people are amazed that we are so young, but the group started out in their mid teens, and although we’re all in our early 30s, we are like veterans.”

Yeah, I call my great granmama a veteran to be kind.  Mind you, she did fight in 2 World Wars, and the Battle of Hastings.  Anyway, I think the viewers at home would like to hear more about Little Anthony, after all, he is the famous one isn’t he, no disrespect, Rob.

“It’s Bobby.  Actually, we talked to him just yesterday.  He’s been in a couple of TV films quite recently and a TV commercial for Chevrolet, too.  I think he occasionally does night club dates just as Little Anthony from time to time, also.”

So what is it with you guys, this is the SECOND time Little Anthony dumped you ? Ever considered washing more regularly ?

“Back in 1975, we not only lost Anthony, but our manager at the time, Don Taylor.  However, Don happened to see us in Vegas in November of ’76, and he was so impressed he promised he would find us a record outlet.  Within a short period, he had arranged Tony Silvester to cut 5 sides on us – ‘Who’s gonna love me’ being one of them.  That was March last year and we heard nothing until the November when the single had been released in England.  For the 6 months between – nothing – we started to forget about the session altogether !”

So what’s it like to be a second rate Stylistics, Don ?

“Well it’s funny, I joined (with Little Anthony) when we linked up with Avco Embassy Records (now H&L Records) and Thom Bell was assigned to produce us.  I felt with a little bit of luck, we could have been very successful then, but the company tended to hide us behind the Stylistics and we kinda lost out.”

So did you ever feel like spiking Russell Thompson’s (Stylistics lead singer) coffee with testosterone to ensure his angelic vocals never grace another record.  It’s not a crime to think it you know, Tom ?

“Well, erm…with respect to the current single, it took us a while to hear it was going down so well in England, and we understand that it is set for release in the States next month.  And we feel that the follow-up single - ‘Where you gonna find somebody like me’ - is even stronger.  And it’s not Tom, it’s Bobby !”

Sure, of course it is.  Well that’s all we have time for, a world exclusive - Tony of Little Anthony & the Imperials attempts to poison the lead singer of the Stylistics – you heard it first here from your host, Dwight Debussy – ‘Have a nice D-D-Day y’all’ “

The above article contains actual footage taken from ‘Blues & Soul Magazine’, no.245 (Feb 14-27, 1978), page 34.

With respect to the album, this is an extremely classy event.  Producer Tony Silvester has percolated a smooth aromatic flavour to the music that is warm and welcoming.  The lead has a slight supper club approach, but his resonance is undeniably steeped in soulful sweetness.  Even when it gets funky on ‘Can you imagine’, there is a polish to the groove.  However I rushed out to buy this LP for just two ballads – played on a single radio show within a space of an hour, and never heard on the airwaves again.  ‘You better take time for love’ is a deft brew of the hushed glow on a lover’s dawn - the saxophone, background vocals and strings basting a gentle, bitter sweet euphoria over its forlorn requester.  Unbelievably beautiful and one of my all-time favourite ballads.  Then we have ‘No one makes love like you do’ – another subtle movement as if not to break the rice paper it treads – floating on the warmth of burning platitudes.  Gorgeous.

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Now, all of you, leave a comment and share your opinion on the album and post and  why not congratulate Trakbuv for another great contribution and review!

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Here is something really special for the weekend. Groovy Emmanuel sent me this vinyl and let’s see what Dusty Groove America says:

One of the undisputed masterpieces LPs of 70s soul! William De Vaughn may never be remembered for anything else - and the poor guy will always be mistaken for Curtis Mayfield by record shoppers everywhere - but he really out-Curtised Curtis on the super-dope original version of “Be Thankful For What You Got”, one of those righteous soul tunes that everybody knows, everybody loves, but which was recorded by an artist that nobody can remember. Get this one, and you’ll remember William De Vaughn as a genius for the rest of your life - not only for the full 7-minute version of “Be Thankful”, which has a great conga breakdown in the middle, but also for other original tunes like “Blood is Thicker than Water”, “You Can Do It”, and “Give the Little Man a Great Big Hand”. Very righteous, and with a deep soul groove that was hardly matched by other albums of the era!

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

Tracks
A1   Give The Little Man A Great Big Hand (5:35)
A2   We Are His Children (5:14)
A3   Blood Is Thicker Than Water (7:19)
A4   Kiss And Make Up (2:48)
B1   Be Thankful For What You Got (7:12)
B2   Sing A Love Song (3:26)
B3   You Can Do It (3:38)
B4   Something’s Being Done (3:44)

Review by Groovy Emmanuel

There is a load of great records by great artists over the years, but what about those who shined once in a lifetime and later on almost disappeared? Such is the story of this 1974 record by William DeVaughn. That and the thing that creativity is the mother of invention.

In 1972 William, a Washington D.C. native, was a salaried government employee, was 24 years old and the man could sing and more important could write songs. So, he entered Sigma Sound Studios in Philadelphia, arranged a recording session and yes, even paid for it! But what a great session proved that to be. The core of TSOP was there, the great rhythm section of MFSB. in guitarist Norman Harris, drummer Earl Young, bassist Ron Baker, and vibist Vince Montana. Omega Sound Inc vice-president and Sigma Sound Studios president Frank Fioravanti was impressed with the record and began shopping it around to various labels. Finally the 45 produced by Fioravanti and arranged by John Davis was issued in Wes Farrell’s Roxbury label in 1974. Wes had started his Chelsea (remember New York City) and Roxbury labels with that in mind: To release great records by artists like William De Vaughn or New York City. Oh dear, lucky us.
The 45 sold over a million copies in the summer of 1974, and over the years it became something like a legend. It was that catchphrase: “Diamond in the back, sunroof top, digging the scene with a gangster lean” that set the pace in the years to come. Lyrics understood or misunderstood about those who actually had those “great, big Cadillacs”, William himself once said that he was talking to the ordinary working folks, the ones who “might not have a car at all.” After all brothers, just listen for yourselves! And enjoy.
Forgot to tell you the title of the 45! “Be Thankful For What You Got” parts 1 and 2, Roxbury Records BR B0-0236. reaching #1 on the U.S. R&B charts and #4 on the Billboard Hot 100 chart, selling a million copies, with a sound and content influenced by Curtis Mayfield, its simple and encouraging lyrics hit home, to the extent that it became featured on gospel radio stations.

Roxbury finally released the album titled after the 45, featuring mostly songs of an overtly religious character, and the second single, “Blood Is Thicker Than Water”, made the R&B top ten and the pop top fifty later in 1974; “Give the Little Man a Great Big Hand” had minor success early the next year. On stage, William DeVaughn used to almost preach to his audience and furthermore to admonish it. Lyrics and texts are almost biblical influenced and yes, someone can easily get down with some of the greatest moments of smoothness ever waxed on a piece of vinyl. And sometimes you can find yourself wondering, is that a TSOP record? Yes it definitely is! Such a great studio, such a great pack of some really great musicians in just to sound as anything good can ever sound.
But later on William seemed to lose interest in the music industry, and began working in a record store and again as a draftsman. And suddenly in 1980 he released the album “Figures Can’t Calculate”  on TEC, which included the title song, a minor R&B hit and a remake of “Be Thankful for What You Got”. Yet again..

Just for conclusion, let’s hear what Earl Young, the great drummer of MFSB, said once about TSOP: ” I think that the Philadelphia Sound is so unique, because we were like family, we recorded like family. Everybody knew everybody in the studio, it wasn’t just about making records. And yes, it is me playing in Cliff Noble’s The Horse (a sixties classic) and Van McCoy’s The Hustle (a seventies disco anthem), and William DeVaughn’s Be Thankful. And The Village People!. And many many more.”  Yes brothers, music is definitely a wheel spinning endlessly, no matter what style it is, as long as it is rocking us eternally.

And always have that in mind: “You may not have a car at all. But remember, brothers and sisters, you can still stand tall. Just be thankful for what you’ve got.”

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It’s also worth listening the killer 12 inch version of this classic song and check you tube for the disco version as well.

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Formed in 1968 The Fabulous Counts - a six piece funk unit - were a scorching Detroit funk and R&B outfit that recorded singles on local labels Moira and Westbound before releasing this, their debut, on Cotillion in 1969. Low down gritty,sweaty,dirty but slick and polished at the same time is how i would describe this album which consists of both covers and original compositions, comparisons to the likes of ‘The Meters‘ are valid but there’s a whole lot more to these motorcity brothers than that.
After this album they had a couple of member changes and went on to further recordings as “The Counts“.

Tracks
A1   It’s A Man’s, Man’s, Man’s World (3:59)
A2   Simple Song (3:00)
A3   Hey Jude (3:35)
A4   The Bite (2:47)
A5   Soulful Strut (2:28)
B1   Dirty Red (2:17)
B2   Who’s Making Love (2:20)
B3   Scrambled Eggs (2:31)
B4   The Other Thing (2:39)
B5   Girl From Kenya (2:57)
B6   Jan Jan (2:15)

The Reviews

A stunner of a funk album - a must-have for any fan of all things funky! This is the one-and-only record cut by the Fabulous Counts, a version of the Counts before they recorded for Westbound - and nearly every cut is a funky 45-type gem! The group’s got a hard and heavy sound that mixed conga grooving at the bottom, guitar jamming in the middle, and lots of funky horns over the top - and the instrumental sound of the record is a non-stop funky party all the way through - all top-shelf material all the way through, with a sound that few other combos can match! The title track is an awesome groover - and the record features lots of other nice ones, like “Dirty Red”, “Who’s Making Love”, “Girl From Kenya’, “The Other Thing”, “Scrambled Eggs”, and “The Bite” (Dusty Groove).

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Detroit funk unit the Fabulous Counts formed in 1968, uniting keyboardist Mose Davis, guitarist Leroy Emanuel, alto saxophonist Demo Cates, tenor saxophonist Jim White, and drummer Raoul Keith Mangrum. Earning local notice as both headliners and a jack-of-all-trades backing band for national touring acts, the group eventually teamed with noted producer Richard “Popcorn” Wylie, recording the cult classic “Jan, Jan” for the Motor City label Moira in late 1968. Distinguished by Davis’ banshee-wail Hammond organ, and the dueling saxophones of White and Cates, the instrumental fell just shy of the national R&B Top 40 charts in early 1969. Noted for its scorching White solo, the Fabulous Counts’ sophomore effort, “Dirty Red,” further solidified their edgy urban funk sound, although commercial interest was negligible. The group’s third single, “Get Down People,” proved their biggest hit — complete with vocals, conga drums, and a deeply soulful Emanuel guitar solo; it spent nine weeks on the R&B charts in 1970 and highlighted the Fabulous Counts’ lone LP, Jan, Jan, produced by Detroit legend Ollie McLaughlin and issued on Cotillion. They left the label the following year for local imprint Westbound, swapping out a few members and continuing as simply the Counts (AMG)

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There’s a wonderful presentation of the group and the album including info’s and photo’s of their singles and more -  the whole story as The Fabulous Counts - here. You can buy original vinyl, reissue vinyl and cd here.  Now, listen how they sounded in later years as  “The Counts”

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Well, here is the South Side Movement’s debut vinyl on Wand - finally had the chance to buy a mint copy - never reissued on LP or CD. Special thanks goes to my fellow Trakbuv for the research and review below. 

If it’s funk you want: straight ahead, uncut, with no artificial flavourings or additives, then why not get some South Side Movement.  Its sole purpose is for moving that dead stuff of yours to a funky sway.  It does exactly what it says on the label.  The band hail from Chicago, with no less than eight wonderful ingredients for your auditory pleasure: vocals (Melvin Moore), guitar (Bobby Pointer), keyboard (Morris Beeks), bass (Ronald Simmons), drums (Willie Hayes), alto saxophone (Milton Johnson), trumpet (Stephen Hawkins), and trombone (Bill McFarland). They started out as the backing band of the funkalicious duo, Simtec & Wylie, probably most famous for their glorious ‘Gotta get over the hump’, among others from the early 70s.  However the pair parted company in 1973, which may have precipitated the move of their backing band to the Wand label where they secured a record deal.  Their eponymous debut came out the same year (the first of three in total) with a rather fetching tablecloth advertisement on its cover.  I’ll assume that the gentleman refusing to be part of a picnic hamper is the lead singer – spoilsport !

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

Tracks
A1. I’ Been Watchin’ You 3.03
A2. Love Turned Me Loose 2.10
A3. La Dee Da 2.55
A4. Have A Little Mercy 4.55
A5. Can You Get To That 3.07
B1. You’re Gonna Lose My Love 3.22
B2. Come On And Love Me 2.26
B3. Everlasting Thrill 3.01
B4. Superstition 4.03
B5. Mud Wind 4.40

On opening the merchandise you are hit immediately with the cream on the top.  ‘I’ been watchin’ you’ is THE killer track and a heavily sampled motha that I’m sure young Nikos will elaborate upon further.  Surely one of the first songs detailing the finer intricacies of ‘the stalker’, its semi-sparce arrangement, tight funk approach, and slightly strained vocals are pretty much symbolic of the LP.  Absolutely essential to any off-the-bone prime rump motion, attaining Top 20 placement in the Billboard Soul Charts.  Then it’s some horny horns on the short but groovy ‘Love turn me loose’ – I’ll never look the same way at the offer of a hot beverage again after hearing this ‘un !  ‘La dee da’ is one of the more melodic tracks on display, resplendent with busy backing vocs, vibes and a colourful arrangement – a nice change of pace.  Things get a little more urgent for ‘Have a little mercy’.  Dag namit, call the fire brigade coz this baby’s tail feather is on fire - faultless funk at its most insidious – my pick for sure.  Then we get some drag-funk in ‘Can you get to that’ with Melvin sounding slightly spacey.  I definitely got to that.  This was their follow-up single from the album that again secured an admirable position in the Soul Charts.  Side Two slides in with the instrumentally excellent ‘You’re gonna lose my love’.  ‘Come on and love me’ has Melvin straining rather awkwardly with the high pitch of the song – a mistake by the producer methinks.  Conversely, the very next track, ‘Everlasting thrill’, has Melvin singing in his most relaxed stance on the album, and arguably his best vocal performance for it.  Very very nice.  Their cover of ‘Superstition’ is competent if offering nothing new – presumably a crowd pleaser at their live shows.  Melvin then takes a seat while the rest of the band display that tightness of their wares on the melodic, pleasant ‘Mud wind’ instrumental closer.

Top credit must go to Mr Jimmy van Leer who wrote most the songs and produced the sessions.  A quote by Chris Jonz on the back cover states: ‘Well, sit yourself down – dinner is being served by ‘The South Side Movement’.  These Chicago-based cookers have outdone themselves and prepared a funky, yet festive meal where the main course will fatten your appreciation for sho’ nuff soul feasting”.  Bon appétit !!

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Melvin Moore, their lead singer, reminds me of a more restrained Leslie Wilson of the New Birth.  For those interested in his subsequent solo recordings, we are pleased to include the Modern Soul rarity, ‘All of sudden’ dating from the 80s.  He has also recently released an album entitled ‘Choice Cut’ available here

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Buy the vinyl from BadCat Records and  listen up the killer funky and heavily sampled track ‘I’ been watchin’ you’

You can also enjoy their final 1975 album “Moving South” in our back pages here.

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