Funk my Soul

One of the lesser-known harmony groups to come out of the mid 70s, but still a very nice one, with a Chicago take on the genre . The group were protégés of Eddie Thomas, who had earlier success with other Chicago groups — but despite all the Chicago connections, The Individuals remind us a lot more of some of the sweet falsetto Philly and New Jersey groups of their era, with a strong talent for handling ballads and mid-tempo groovers equally. The whole album’s great, and it includes the long version of the group’s ballad classic “Together”, we can make something happen”.

Tracks
A1 Try It Again 2:41
A2 Never Too Late 3:55
A3 I Want You For Myself 3:41
A4 Girl Oh Girl 2:49
A5 Sorry Sorry 2:50
B1 Together (We Can Make Something Happen) 6:57
B2 Why Can’t We Be Together 3:02
B3 I Love The Way You Move 2:55
B4 Gotta Make A Move 3:28

To speak in terms of tradition, consistency and success without the repeated usage of the letter “i” would be an understandably difficult feat for Eddie Thomas. In fact, it has become a tradition for Eddie to produce some very consistent and successful acts whose names begin with the letter “i”. Two groups come to mind are the worlds-renowned and highly acclaimed “Impressions,” Eddie”s first successful group, and “The Independents” who rendered the national number one hit “Leaving Me” along with several other million sellers.

Once again Eddie Thoma’s natural ability to recognize top flight talent has succeeded in bringing to the world another dynamic group, “The Individuals”. Thus creating the third “I” for Eddie. With all due consideration ” The Individuals” have the makings of immortality, and under the skillful guidance of executive producer Eddie Thomas and producer Paul Serrano, have put forth an effort that showcases them as the cream of a fine crop of Chicago talent. Although a nea act, The Individuals have to be regarded as a group with an excellent quality of professionalism and presentation.

The strength of this album along with the gifted personnel in it’s production reinforeces Chicago as being one of the leading cities in the creation of today’s finer music.  The Individuals also helped produce as well as write the songs contained in this album. After listening to this “Magnus Opus”, I am sure you will concur that The Individuals are as talented writers and produsers as they are singers and musicians (From the back cover).

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Never released on CD. Buy this rare vinyl from Ebay or Groove Collector and listen the killer “Together (We Can Make Something Happen).

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There aren’t many heavier, more sought after albums for the deep disco head than this 1978 classic from the reservoirs of Patrick Adams and “Red&” Greg Carmichael. The big cut on here is undoubtedly “It Ain’t No Big Thing,” which has been floating around on bootleg for a few years, and was the subject of a nice Danny Krivit edit (only on Japanese import, sorry!). Beyond those credentials, “No Big Thing” is a superb soulful dance tune with grown folk lyrics delivered by a sweet but world-wise female vocal, a subgenre of disco that New York City seemed to excel at in the late ’70s (see Cory Daye, Norma Jean, Sylvia Striplin, etc). I first heard this bittersweet masterpiece years ago in a set from DJ Clark Kent, a subtle tip of the kangol to the days when hip hop and disco were two sides of the same coin. Dig the rhythm guitar, one note never sounded so funky! The title track is the original version of a cut that was to become one of Larry Levan’s key remixes and a Paradise Garage classic when Jocelyn Brown and Inner Circle recut it. Another Patrick Adams anthem is included here, “I’m a Love Bug,” a track that was also redone on a couple releases by Bumblebee Unlimited (dig deep people!). The remaining tunes, “Mr. Blindman” and “Do As I Do” (with an orgasmic breakdown that would put Donna Summer to shame) are in a similar mold, but when the form is this elegant who needs variation?

This is a @320 vinyl rip of the original LP including covers and bonus tracks from the CD.

Tracks
A1 Do As I Do 10:04
A2 Make It Last Forever 8:14
A3 I’m A Love Bug 4:15
B1 Mr. Blindman 5:05
B2 It Ain’t No Big Thing 6:30

Another deep disco banger from the vaults of the P & P catalogue (recently re-edited by Kenny Dope of MAW fame). This record was released to little acclaim in 1978, and apart from it being a Paradise Garage hit, it pretty much sank without a trace. But over the years it has become a bit of a holy grail amongst soul and disco collectors - I saw a copy sell for $400 on eBay just last winter - and with good reason. If you liked the smoked-out, trippy elegance of the disco masterpiece Atmosphere Strut by Cloud One, then think of Make It Last Forever as its sleazier, funkier counterpart. The songs were long hustle-style workouts, complete with Patrick Adams’ trademark Moog and smoky string arrangements, but there’s a slower and dirty edge to this stuff - think Barry White production but with none of the romantic elegance. Throw in Mcghee’s husky vocal stylings, complete with long orgasmic interludes that make Donna Summer sound like Kathie Lee-Gifford, and you’ve got a potential orgy on the dancefloor. It also includes “It Ain’t No Big Thing” by Mcghee’s first band Personal Touch, which was a big early hip hop disco break record, and original versions of “Mr. Blindman” and “I’m a Love Bug”, which were later reworked by Patrick Adams and Make It Last’s producer Greg Carmichael under the Moniker Bumble Bee Orchestra (which, come to think of it, is due for reissue as well). But I digress…this is an excellent record that deserves to be heard by anyone who loved the Cloud One LP, and any of the aforementioned artists. Excellent stuff y’all!

I recently went crate diggin for the first time in NYC and while I was there this album was playing in the background. Needless to say, I was blown away by the vocal and chord arrangements I was listening to. This album has a feel to it that will take you straight back to the 70s. The title cut “Make It Last Forever” is a classic right from the gate. Donna McGhee’s voice is absolutely gorgeous over these disco-driven tracks. If you break yourself away from the music and listen to what she is saying, there is definitely a love/sexual message there. You can tell she is coming from the heart. Props to Greg Carmichael and Patrick Adams for putting together a fantastic album. This is a classic worth having and it has me looking for other Donna McGhee projects. The girl can go! One of my friends asked to borrow it and I replied: “No my brother. You gotta buy ya own!!!” For real though, you have to get this.

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Buy the CD from Amazon (35$ to 55$) or ebay (69$ - 89$). If you ever find a vinyl do not loose the chance cause it is extremely rare (see here). The only available copy costs 330$ in Groove Collector .

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Nicolas Drosos who runs “Mellow Soul & Sensual Grooves” blog, kindly offer us “You should have told me” which was not included in the album. It was only released as a 12inch in 1979.

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Mr.Moo continues to offer wonderful music to the visitors of FMS. Let’s find out his latest contribution :

This is one of your reviewers favorite albums, ever. Pretty strong opinion, but when this was released it was effectively the only a cappella music available with the exception of local East Coast groups. Their first album was actually produced by Frank Zappa, but this second one is one of the three on Capitol Records that established The Persuasions as the premiere a cappella group in the world. The voices are rich and vibrant. The music chosen established their repertoire of rhythm and blues, soul and gospel. They became adept at creating such spirited covers of Curtis Mayfield, Sam Cooke and The Temptations that it is almost impossible for anyone to sing ‘Persuasion’s’ songs and not sound wrong somehow. (Singers.Com).

This is a @320 vinyl rip (supplied by Mr.Moo) including original vinyl covers

Tracks
A1 Chain Gang 1:55
A2 Man, Oh Man 2:15
A3 It’s You That I Need 2:25
A4 The Sun 2:42
A5 Don’t It Make You Want To Go Home 2:30
B1 Walk On The Wild Side 2:18
B2 Another Night With The Boys 2:50
B3 Gypsy Woman 3:45
B4 Don’t Know Why I Love You 2:42
B5 Let It Be 2:20

If you had to pick one “desert island” Persuasions album, this would be the one. They were never in finer form, and never chose a collection of tunes better suited for their strengths. These were the songs that they sang on the road for many years, and this was their debut album for Capitol. From Sam Cooke’s “Chain Gang” to Curtis Mayfield’s “Man Oh Man,” this is classic Persuasions material. Bass Jimmy Hayes’ turn on “The Sun” still makes my speakers rattle. It’s almost below the range of normal human hearing! The vitality, the joyousness, the virutosic singing, and yes, Jerry Lawson’s tremendous phrasing-certainly one of the signature voices of the last fifty years- make this album nothing short of sensational.

A cappella singing has been part of the African-American musical tradition since the days of slavery. Despite the recent success of the hi-tech a cappella group Take 6, the tradition has suffered a steady decline to the point where it is rare even in gospel circles. The Persuasions, though, are resolutely a cappella. Their chart successes have been minimal (two fleeting R&B entries in 1974-1975), but they carry forward the tradition without appearing ossified. Airplay will probably always elude them - and with it the really big breakthrough - but their music has been a consistently enjoyable sidebar, and never one that has simply reeked of revivalism, remaining fresh through releases like 1993’s Toubo’s Song, 1994’s Right Around the Corner, and 1996’s Sincerely. 1999’s On the Good Ship Lollipop was a foray into children’s music, while a year later the group issued Frankly a Cappella: The Persuasions Sing Zappa and Might as Well…The Persuasions Sing Grateful Dead.

More Info

Wikipedia

Singers.com

Soultracks.com

Buy the vinyl from ebay and the cd from Amazon and listen up Man, Oh Man.

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Hodges, James & Smith were originally known as Hodges, James, Smith & Crawford (former Motown artist Carolyn(Caroline)Crawford).They later became a trio..Pat Hodges, Denita James & Jessica Smith… all originating from Los Angeles. Denita James had a solo single on Flip around ‘63 and Pat Hodges had a solo release Keymen around ‘66. The group was the brainchild of William “Micky” Stevenson and they were intended to rival The Supremes which is hard to believe because H, J & S’s sound was more aggressive and a lot more Soul/R&B oriented. Their first single was ‘Nobody’ on the Mpingo Label(previously a hit for Kim Weston on MGM). They updated it later for one of their 20th Century albums in the 70s. So there are two versions released by them.

This is a @320 vinyl rip of the original 20th Century LP including covers

Tracks
A1 Nobody (3:18)
A2 Power Of Your Love (3:12)
A3 Momma (3:05)
A4 Monkeyshine (3:18)
A5 He Did Me Wrong, He Did Me Right (3:04)
B1 I Who Have Nothing (5:35)
B2 Sexy Ways (4:20)
B3 Rusty Old Halo (4:27)
B4 West Virginia Symphony (3:31

Hodges, James & Smith (HJS) was the brainstorm of producer/writer William “Mickey” Stevenson, Motown’s A&R Director during their glory years. All Detroit natives, Pat Hodges, Denita James, and Jessica Smith were handpicked by Stevenson, though they each took different routes to get there. Hodges played the clarinet in a local band, then attended college and earned a B.A. in music. James studied ballet and tap dancing, while Smith had a gospel background.

Mickey Stevenson had a great vision for HJS and groomed them to play the top, plush clubs. He created a snazzy nightclub act for them that rivaled the Supremes. They played the sweet gigs throughout Europe and recorded Incredible on 20th Century Fox in 1973, but the only thing incredible about it was the speed it reached cutout bins at discount record stores. Although a solid album, it just didn’t get a decent push. Another 20th Century album, 1975’s Power in Your Love, disappeared so fast that most people can’t recall its title. The lack of recording success though, didn’t douse HJS’ flame; they continued traveling, doing the plum gigs.

In 1976, they signed with London Records. What’s on Your Mind received quite a bit of promotion and acclaim that, unfortunately, didn’t transform into sales. A second London release What Have You Done for Love, met a similar fate. During 1977, they had a few singles that nested in the nose-bleed section of the charts: “Don’t Take Away Your Love,” and a medley “Since I Fell for You/I’m Falling in Love,” but no major busters. Other artists including Bobby Womack, and Sylvester used them on sessions, but after a few more years of the same the trio disbanded, never having achieved the success they and Stevenson tried so hard to obtain.

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You can buy their vinyl from Groove Collector or Music Stack. Listen up the erotic, beautiful, and soulful “Sexy Ways”

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Here is a very obscure LP from the turn of the seventies - a reminder of the invention and freedom that Black music embraced during this period - the theatrical stylings of bands like Rotary Connection and the complex arrangements of Charles Stepney. Black Magic served as rhythm section to Sonny & Cher both on record and stage, and exude a spirited exhuberance, curling their youthful hands round a Friends Of Distinction ethos and injecting it with a concept-lead staged musical affair. This is really an amazing find, my friends.

This is a @320 vinyl rip (supplied by Nikos) of the original LP including covers.

Tracks

A1 Where Love Is (2.38)
A2 Mama Says (2.37)
A3 Black Bottom (2.38)
A4 Miss Jessie (3.15)
A5 Kimu (4.03)
A6 Aunt Adele (2.50)
B1 ‘Tater Man (2.50)
B2 Faces On A Bus (2:18)
B3 Vacant Lot (2.55)
B4 Pershing Square (2.57)
B5 Before It’s Done (2.59)
B6 Echoes Of Love (2:37)

Review by Trakbuv

Black Magic - certainly a new act to me. A fiesty sextet - 3 guys, 3 gals. Delving deeper into the individual talents on display unearthed an amazing pedigree to this forgotten outfit. Instantly familiar to me was Jerry Peters, the highly gifted producer, arranger, writer and keyboardist (check his solo LP ‘Blueprint for Discovery‘ from 1972) for the likes of Jerry Butler, Brainstorm and The Sylvers. From what I have gleened, Annesther pictured on the back cover may not be the same as the person pictured on the front sleeve - who is Marva Holliday.  Annester Davis (sometimes referred to as Anne Ester) worked on many soul and Jazz LPs as backing vox with the likes of Gene Harris and Phyllis Hyman. She also reunited with Jerry Peters on a jazz LP by Manfredo Fest (‘Manifestations’, 1979). Marva has a more detailed history (here). She had cut one solo single on GNP Crescendo (‘It’s written all over my face’) - which is apparently quite big on the Northern Soul circuit - prior to joining Black Magic. What she also brought was her lyrical prowess in helping to pen 3 of the songs on the album. Unfortunately she left the group just prior to the release of the album to have a child, hence the change in personnel between the two faces of the sleeve.

Jerry Peters, Greg Poree and his sister Anita are all over Friends of Distinction’s ‘Real Friends’ LP of the same year, including one of their biggest hits, ‘Love or let me be lonely’, one of the greatest songs ever written IMHO. Anita Poree also collaborated with Leonard Caston (of Caston & Majors fame) over at Motown, writing songs for the likes of Eddie Kendricks in particular (‘Keep on truckin’, ‘Girl you need a change of mind’, etc). Greg went on to become a session guitarist. I could not find any info on the remaining two members, bassist Wayne ‘Dark Gable’ Douglass and actress/model/singer Niggy d’Oberoff (the ‘Black Twiggy’).

Built around the mould of The 5th Dimension & The Friends of Distinction, with a theatrical concept styling that was so delicious around the beginning of the 70s, this is as much an experience as a collection of radio friendly plastic. They translocate us to the middle of the ghetto, unsurprisingly, with an exquisite mosaic of rhythms and sounds. Each track has it own character while piecing the parts of a larger jigsaw. We kick off in fine style with a sunny group harmony number ‘Where Love Is’, immediately confirming the link with The Friends Of Dimension, sorry, The 5th Distinction. Things become a little funky with the reminder that ‘Mama Says’ and you better take heed - sucker ! A very confident baritone lead and a very nice track. ‘Black Bottom’ is a little novelty number recalling a bygone era. And the rhythmically challenging ‘Miss Jessie’ carries a familiar woe and gives it an attitude that is refreshing. Very clever and accomplished. ‘Kimu’ is theatrical soliloquy that could only fit as part of the puzzle - and as such is a brave inclusion. ‘Aunt Adele’ is a vibrant tale of the wise tale teller - surely an inspiration for the album’s structure.

For me, Side Two is much more conventional as a listening experience and is far more instant and successful for it. It really is an awesome testimony of how this failed to ignite the hearts and minds of the record buying public in its day. Such a shame. We start with the glorious ‘Tater Man’, a very mature ode given a throbbing insistence of the invisible man working on the street. ‘Faces on a bus’ is absolutely gorgeous and again a familiar series of stories given an edge by its inspired structure. The concept behind ‘Vacant Block’ is brilliant - and another highlight. The front cover has the back of Anita displaying the word ‘Sex’ and the her brother’s foot ‘Strife’ in reference to a line in the song. Yeah - my eyesight really is that good !! ‘Pershing Square’ is a personal number for the band, and heralds the awaiting pinnacle of the platter. Saving the best for last !! ‘Before it’s done’ is the BOMB. Okay, some of the lyrics are a little twee, but overall well intentioned. Beautifully sung, beautifully captured - and probably my favourite. Vying for my attention though is the very next track, the strident and anthemic ‘Echoes of Love’. This is a fabulous way to end any listening experience - on a bold high note.

FMS is proud to bring this wonderful Black experience to a theatre near you - only those with a serious love of our music need enter. And enter you must.

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Question for a moment what would drive you to donate some of your leisure time to run a blog like FMS. For us, it is simple – to invite, share and educate as many people as possible to the awesome emotional ride of this wonderful music of ours. And in doing so, we hope to show respect for the original artists, most of whom never got the recognition they deserved when they offered up their hopes and dreams in the recording studio.

I guess, like all things in life, what starts out as a blessing can become taken for granted with time. However, I think we need to take a step back from time to time to remember what this is all about. And remind ourselves why blogs like ours exist, and continue to exist.

There is real danger right now of blogs shutting shop or going private – ours included - where a simple thank you may be all that is required to ensure its longevity. A simple thank you to demonstrate some acknowledgement of the effort to rip the original LP for your pleasure, and the care taken over our research and presentation – a simple thank you in honour of the original artists and their loved ones, who do read these pages – and a simple thank you to every one for ensuring this music never dies.

In recognition of this, we are offering ‘Black Magic – Where Love Is’ only to those who leave a comment. Try not to see this as some ego trip for our amusement, but as an opportunity to show solidarity behind our common musical love and recognition for all involved – including the artists. A simple thank you will suffice, but all comments are welcome, with the obvious exception of profanity.

So do not forget to leave a comment and fill in the box with your email (can be seen only by me) so i can send you the link.

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To everybody who has left, and will continue to leave comments , we are very grateful for your support and hope you enjoy the LP as much as we have here at FMS. Just to remind everyone how importantly the original artists feature in all our hearts, and the fact that they do read your generous words of praise, here is a comment left by Marva Holiday of Black Magic :

Thanks for sharing this LP with the world. I’ve enjoyed reading some of the comments and will print them out for Anita (my lyric writing mentor and long time friend).
I sang lead on one song that did not make the album. (No complaints. I had a great time writing and singing background :-)— Here is some more info for you:
Niggy (the black Twiggy) is singing lead on the beautiful “Before It’s Done.” Jerry Peters is the male lead on Tater Man, Faces On The Bus, Kimu, etc. He is also playing the clavinet on Kimu. Greg Poree, of course, did all the guitar work and also played the banjo on Black Bottom.
Anta is singing the lead on Where Love Is. She and Niggy were actors and they are the two voices you hear at the end of Miss Jessie (the first song I ever wrote.thanks to Anita’s coaching :-).
Though I left the group, my voice remained on the album. I’m the one who says “It would be groovy to see things from another point of view sometime” before we launch into “Vacant Lot”. Anita and I are singing the “grow flowers in my hair” refrain.
I sometimes think of redoing one of these songs. Maybe one day. Thanks again.

Please feel free to come back with your impressions of the album so Marva and Anita can appreciate why we have such a high regard for them and their peers.

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