Funk my Soul

Sweet Salvation is another one of those rare albums from the early 1970s that has grown in popularity over the years.

Mr. Moo’s new contribution to FMS is another classic!!!

Sweet Salvation, a righteous little soul group with a hip early 70s crossover vibe! There’s a mix of gospel, soul, and funk going down here -  almost with a rootsy Swamp Dogg style at times, but a bit more put together too - yet thankfully not nearly as slick or polished as some other major label efforts of this nature from the time. We know very little about the group, but they’ve got a feel that would be right at home with the cultural mixing of the Bay Area scene of the early 70s.

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

Tracks
A1 Do a Number 3:35
A2 Ain’t Nobody’s Fault But Your Own 4:18
A3 I Just Find Myself Falling 3:28
A4 Who’s a Blue 3:52
A5 Sail Away 5:31
B1 Carry Me Home 1:58
B2 Have You Ever Had the Blues 2:22
B3 Stick With Me 2:49
B4 Keep on Pushin’ 2:50
B5 Rock Steady 8:21

Led by long-established New Orleans musicians drummer “Big John” John Thomassie, keyboard player Wayne DeVillier and guitarist Don Normand, Sweet Salvation could have been one of the all-time great r&b/funk/rock/gospel bands. Unfortunately due to business mis-steps and bad timing it was not meant to be. Also featuring 2 great women singers, DeEtta Little and Fritz Basket, and Alex Smith on bass, Sweet Salvation covered ground that includes New Orleans second line, blues, r&b, rock and 70’s funk. They were very much connected to Allen Toussaint and the Meters, but maybe heavier in sound and style, closer to rock.
The album “Sweet Salvation” also features 2 great cover tracks, very elaborate and creative arrangements of Randy Newman’s “Sail Away” and Aretha Franklin’s “Rock Steady“. “Sweet Salvation” also delivers some first-rate original tunes in what could have led to a powerful and unique style. It’s great to hear rock-solid r & b and second line grooves combined with Devillier’s brilliant and virtuosic piano playing, which is beautifully recorded (loud and thick sounding, not too bright) and is the backbone of the band’s sound. I know this record from the original vinyl, and I am glad to see that it has finally came out on CD!

(Review by Adam Holzman from Amazon)

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There’s hardly any other concrete info about this group as such available, except for Dan Phillips’ excellent review of ‘I Just Find Myself Falling‘, through his “Home of the Groove” blog here

Buy the vinyl from Groove Collector and Discogs. Much to my surprise this album was reissued on CD last year on Wounded Bird label. You can easily get it from Amazon or MusicStack.

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Since there’s no video clip of the group available, your only chance to hear it, is to press one of the two buttons below! Don’t sleep!

Finally please don’t hesitate to say your opinion on the album or at least to thank Mr.Moo for another great contribution.

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On the occasion of today’s post, I would like to thank you for your donations. Without them, I couldn’t share albums like this one.

Rare Beautiful Deep Soul LP by this great singer. Listen to Freddie North and you will realize he has been magnificently blessed.”Love to Hate”,”Sun Comes Up” and the definitive redition of “Rainy Night in Georgia”.

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

Tracks
A1 Cuss the Wind 3:26
A2 My Whole World Ended 5:22
A3 Love to Hate 3:39
A4 Sun Comes Up 2:31
B1 Gotta Go Get Your Mommy 3:26
B2 I Loved Another Woman 3:00
B3 Oh Lord What Are You Doing 3:10
B4 Rainy Night in Georgia 4:37

Review by  Soulmakossa

Although known to most for his smash hit “She’s All I Got”, Freddie North is - or should be - a household name for those into authentic Southern Soul.

After the majestic ‘Friend’ LP (1971), North recorded this follow-up in 1975, again with Jerry ‘Swamp Dogg‘ Williams manning the board. And, as with the output of contemporaries such as Z.Z. Hill and Jimmy Lewis, ‘Cuss the Wind’ proved to be another one of those very last true Southern Soul albums, steeped in the gospelfied tradition of gut bucket testifyin’ that, commercially, was rapidly going ‘out of style’ come ‘75.

The greasy, plodding title track opens this now rare and acclaimed album, and as soon as North opens his mouth, hearing his rich baritone is like catching up with a long lost but very dear friend. Freddie then gets right down to business with the album’s centrepiece, the devastating “My Whole World Ended“, a soul staple, but to me, this blazing, horn heavy work out - complete with funk-rock freak out bridge - is the defitinive version. Count your goosebumps when North sinks his teeth into the last chorus…

The menacing, funky vehicle “Love to Hate“, a North original, features some snappy wah wah guitars and soft, shimmering strings. Folksy wisdom set to the traditional Blues pattern, funked up to the extent that it could well have come from a blaxpo-movie.

Sweet, country-tinged soul is up next with the smouldering, teasing “Sun Comes Up“; more down home philosophy put to a shakin’, earthy groove. Dig the harpsichord here!

There’s an excruciating fraility to the beautiful, low-key ballad “Gotta Go Get Your Mommy“, a sparsely arranged soulful lament featuring Freddie as the archetypical deserted, mourning lover. And believe it or not, there’s an actual red beans ‘n’ rice old time Blues shakedown here! The to-the-point “I Loved Another Woman” is dirty, dirty delta wailin’, somewhat reminiscent of B.B. King’s “You Upset Me Baby”.

“Lord, What Are You Doing” is sweetly orchestrated, mid-tempo soul at its finest; a remarkable, dreamy tune that fully demonstrates the range of pain, anguish and passion Freddie put in his vocal delivery.

Finally, there’s “Rainy Night in Georgia“… What’s to say about this one? A forgotten masterpiece… a soothing, harrowingly beautiful rendition of the Brook Benton original. I can’t say which version I like better… I do know that this is one masterful way of ending a splendid, deep, SOUL-ful album.

Freddie North should have been huge… The man was brilliant, and his two records for Swamp Dogg are all the evidence you need of that notion.

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Never released on CD. Buy the vinyl from Ebay or Groove Collector

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I know you’ve been waiting for this for a long time. Believe me it was worth it.

We have some great organic rhythm and blues for you. High Voltage may not be well known to many of you, but they are an outfit that incorporated key members from the bands ‘Rufus‘ and ‘Maxayn‘. And with Lalomie Washburn on vocals, I think you can begin to familiarise yourself with this important LP. Their sound is raw and funky - just like we know you likes it. So plug yourself in and sample some of that environmentally-friendly energy.

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

Tracks
A1 Country Road 3:35
A2 Love Hate 2:57
A3  What Can We Do 3:03
A4  Save Me 3:36
A5  Crazy 7:25
B1  Limbo 3:00
B2 Be 3:05
B3  Crumbs Off The Table 3:47
B4  Everybody Is An Only Child 4:17
B5  Roller 3:08
B6  Let Me Ride 2:37

Review by Trakbuv

I must admit to being a little concerned this week. I had no idea who High Voltage were and I was struggling to find any information at the usual drinking holes. I was even beginning to ponder on submitting an article about how high voltage transmission using DC current over long distances saves on energy loss due to the lower current, but has a trade off of having to be converted back to AC for domestic use with higher potential maintenance costs. And while this may have been an engrossing article in these times of energy efficiencies and fossil fuel alternatives, I feel that it may have transgressed the boundaries that Nikos would normally allow me.

Fortunately, I discovered that among the band members of High Voltage were Lalomie Washburn, Tony Maiden and Bobby Watson. Which has given me an excuse to talk about a band I do know something about - Rufus. Yes folks, what we have here is a important link with Rufus minus the Ron Stockert influence. As mentioned here, after ‘Rags To Rufus’, the band lost three members, two of whom were replaced by - you guessed it - the bassist (Bobby) and guitarist/vocalist (Tony) from High Voltage. And to secure the link, Lalomie Washburn also wrote several songs for Rufus (with Tony Maiden), including the hit ‘At Midnight’, ‘I’m a woman’, and the gorgeous ballad ‘Your smile’. Of course, Lalomie Washburn released a solo effort in 1977 (‘My music is hot‘) that has become a sought-after funk goodie in recent times.

Hidden away on background vocals is Maxayn Lewis who was not shy of taking the spotlight with three early seventies releases with a band under her own name, Maxayn (her debut can be found here). Her husband, Andre Lewis, also an important member of Maxayn, plays organ with High Voltage. His keyboard skills can be truly appreciated when Maxayn metamorphosed under the weight of disco to the spacey funk-disco act Mandre (see their debut here) where Ms Lewis continued to write and perform vocals. To continue the link, the well-established session guitarist Marlo Henderson appears on both the Maxayn and High Voltage LPs. In addition, we have Fred Hall on drums and a tight horn section of Billy McPherson (sax, flute), Mark Williams (sax), Chuck Findlay (trumpet) and Chuck Garnett (trumpet).

So, although there is huge blank web-page with “High Voltage” as the heading, this is an immensely important find littered with cross references to better-known acts. In essence, we have a very strong old-fashioned rhythm and blues affair somewhat reminiscent of the debut by Rufus. A great band, great vocals, although the production feels uninspired in places. The brisk opener “Country Road” is a well-developed brassy bumper that serves Lalomie well. Tony shares the mike with her on the bright, uplifting “Love hate” with some great horn arrangements. “What can we do” keeps the tempo skipping with Tony holding his own. “Save me” is more my funk bag, a little less formula and a little more spice - a definite groove in the right direction. The exquisite “Crazy” slows the pace to an ethereal glow with mellifluous flute injections trading curiously with Lalomie’s slightly off key vocals - but somehow it all seems to work. “Limbo” is a lovely latin-flavoured gem, a credit to all concerned. Both “Be” and “Crumbs” are complex, guitar lead creditable funkers that are a little messy for my sterile ears. “Everybody is an only child” is an ambitious opus with great sentiments that really does put Tony’s vocal ability to the test. “Roller” is a decent instrumental track that has enough happening to merit its inclusion. The closer “Let me ride” reminds me a little of Rufus’s “Swing down chariot” - great, great track ! Considering the calibre of personnel, I can’t help wonder what could have happened if the production had been a little more adventurous on several tracks. However, there is an undoubted raw energy here that many of you would prefer to be left alone.

Fate determined that High Voltage was a one-off venture, with the various constituent members sprouting their wings further on other projects. Lalomie Washburn sadly passed away in 2004. However, she did release several singles in the nineties including a CD in 1997 (entitled ‘Lalomie Washburn‘). Rounding up this link-infested post, Lalomie also performed on Brigette McWilliams great CD ‘Too much woman’ of 1997. Brigette is the daughter of Paulette McWilliams, herself a respected soul singer who was the original vocalist with……you guessed it - Rufus, prior to Chaka taking the helm. You will all be pleased to know that I’ve now entangled myself in a link web of my own making that will take me a few weeks to unravel.

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Never released on CD. I can only find 2 vinyl copies on Groove Collector and Ebay. So hurry up to put your hands on the treasure.

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Mad props to Trakbuv who (once more) spent a whole week in researching and writing for this post.

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A Masterpiece..

..which I discovered thanks to the following comment on the post of his debut album here:

“I saw an interview recently where Allen Toussaint was asked to name a favorite song that he wrote for another artist. After naming a few he wrote for Irma Thomas & Lee Dorsey, he said ‘If I was to think of a song that I think the most of in my life, it wasn’t heard by anyone but me and the artist, and that was Lou Johnson, a song called “Transition”… it was on his album [1971’s With You In Mind], of course, but it wouldn’t be one that would be remembered or even heard by most. But that happens.’”

And then I realized I had this LP (lou’s 2nd and final) in my collection. I started played the album and  was amazed by the 8.18 “Transition” and the whole album.

Don’t miss this superb album from one of the best soul singer I have ever heard!!

This is a @320 vinyl rip of the original Stax/Volt LP including covers

Tracks
A1 There Were Times 3:21
A2 Transition 8:19
A3 The Loving Way 3:12
A4 Nearer 2:55
A5 The Beat 2:50
B1 Who Am I 3:57
B2 Frisco Here I Come 2:51
B3 Wrong Number 3:08
B4 Crazy About You 2:59
B5 Living Without You 4:00

Review by Soulmakossa

Produced by New-Orleans wizard Allen Toussaint, ‘With You in Mind’ was Lou Johnson’s last recording effort. And while it would have made sense for him to go bubblegum pop in a last attempt to break out into the big league, Johnson instead created an album that is nothing short of amazing. A ruthlessly creative, haunting, cynical LP, with music and vocals firmly rooted in the Southern Soul tradition, but augmented with a certain je ne sais quoi that makes it a dark, depressing masterpiece.
It aptly opens with the quirky “There Were Times“, a rollicking, gospelfide country church beater sweetened with the slightest amount of strings and backing vocals. Lou Johnson already sounds mighty despondent, here.
But it’s “Transition” that should have sky-rocketed ‘With You in Mind’ to legendary heights. An 8-minute + opus of longing, with Johnson belting out a distraught vocal that evokes visions of a lovesick man steadily going insane. The tune is divided in several musical segments, creating a musical soundscape that features sassy, fatback groove-filled episodes and wistful, lamenting, teary-eyed moments of quiet contemplation - the latter immersed in a dark, brooding stew of sitars, piano, plodding drums and far-off sounding brass. This is, in fact, the ‘A Day in the Life’ of Soul: a mind-expanding audiovisual trip sporting a crazy, Dantesque finale with off-key blasts of horns, that jangling sitar, Johnson’s other-worldly scatting and an acid-drenched orchestra working its way up to a climaxing crescendo.
It’s tough to follow a track as “Transition”, but the album remains steadfast in its addictive, dark quality. “The Loving Way” sounds a trifle more upbeat, with the happy, chirping backing vocals and its persistent groove, but Lou remains in a self-doubting, moody bag all the same. Even more so on the lilting, low-fi “Nearer“, which has Lou singing “…I hope I’m not a nuisance to you”. Beautiful chord progressions here and a devastatingly intense vocal.
Up next is the ominous, dangerous funk vibe of “The Beat“, a ferocious jam that starts off with a short monologue by Allen Toussaint and is infested with super catchy stops and starts. An irreverent track that smells of reclaiming ‘the beat’ for those who set it in motion. “It goes on and on”, Lou wails.
“Who Am I” is set to a strange, but ultra funky little groove, while the omnipresent piano and vibes clothe the song in a plaintive warmth. Check out Lou prolonging the ‘I’ in the title, again evoking the sound of “A Day in the Life”, and marvel over the sweaty gospelfide finale that just struts on.
The only single from this album, “Frisco Here I Come“, also is the most hard rocking. Featuring Duane Allman-styled guitar and a throbbing, deep in the pocket groove, Johnson’s gruffy vocal is especially on the money when that low-down, dirty, descending bass riff comes a’ thundering through.
Toussaint’s delicious piano plunkin’, engulfed by another greasy, gutbucket funk rhythm, opens the lamenting “Wrong Number“. Lou sounds both resolute and supremely cynical here, as if he’s single-handedly pushing the locomotive that propels the groove of this smokin’, sizzling slice of Southern funk. And then, out of nowhere, the rhythm slows down and transforms into a waltzing, delicate, lullabye-esque groove, with Lou adlibbing all the way through. Terrific…
The struttin’ continues on the lazy, relaxed, laidback funk of “Crazy About You“, sporting another ridiculously ingenious bridge. The infectious horn-infested finale needs to be heard to be believed.
Finally, there’s the downhome testifyin’ of “Living Without You“, with Johnson churning out one more pain-riddled vocal. The drums keep crashing on behind him, while angelic backing vocals and staccato strings create a wonderfully dreamy vibe that nevertheless remains desperate in its feel.
What’s more to say about this one… The album cover is spot on, as far as I’m concerned. ‘With You in Mind‘ is one of the darkest, most appealing, beautifully executed soundtracks on heartbreak, longing and despair I have ever heard.

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Biography

Extremely rare. Never released on CD. The only available vinyl copy is on Ebay for 50$. I hope someone finally put this amazing album back in print. There’s no video clip on You-tube. So enjoy Lou Johnson’s biggest hit,  Unsatisfied.

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I’d like to thank Raphy who cleaned this vinyl rip perfectly.

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Mr.Moo continues to offer us great albums like the classic balladry of the Dynamics, a must in any soul/sweet soul music collection of depth.

A bit sweet soul, a bit funky and a real indie soul classic from the early 70s! The album’s the second from The Dynamics, a group from Detroit, but one who work here with a style that’s much more in the east coast mode of the All Platinum/Stang generation! The production is nice and mellow on the best cuts - fragile, but never sloppy - and the vocals really dominate nicely on the ballads, sliding forward with a really mellow late nite sound! The album does have one stand out funk track, titled “Funkey Key”, but most of the set is relatively mellow and other tracks include “Count Your Chips”, “What A Shame”, and “You’ll Never Find A Man Like Me”.

This is a @320 vinyl rip (supplied by Mr.Moo) of the original Black Gold LP including covers

Tracks
A1 What A Shame 3:15
A2 She’s For Real (Bless You) 2:30
A3 Let Me Be Your Friend 4:00
A4 You’ll Never Find A Man Like Me 3:10
A5 Woe Is Me 3:00
B1 Voyage Thru The Mind 3:02
B2 You’re The Only One 3:25
B3 Funky Key 3:20
B4 Count Your Chips 3:45
B5 Shucks I Love You 3:00

Bio

Isaac “Zeke” Harris, George White, Fred Baker, and Samuel Stevenson were the Dynamics. (Zerben R. Hicks also sang with them but left shortly after their first album release.) All Detroit natives, the group was managed by Ted White, who was married to the Queen of Soul, Aretha Franklin.Their first Cotillion release, the metaphoric “Ice Cream Song,” did quite well on R&B charts. Following the lead of Atlantic recording Aretha in the South, White took the Dynamics to Memphis to record, which is why “Ice Cream Song” sounds like something the Mad Lads would have recorded at Stax. The Dynamics, however, were more versatile than the Mad Lads, and the material was better too. They had three lead voices, one being an outstanding falsetto. Chips Morman and Tommy Cogbill produced their early sides; the rhythm section consisted of Memphis stalwarts Reggie Young (guitar), Bobby Emmons (organ), Bobby Wood (piano), Mick Leach (bass), and Gene Chrisman (drums). They recorded two albums: “First Landing” on Cotillion and “What a Shame” on Black Gold.

Review

Managed by Ted White, Aretha Franklin’s husband (at the time), the Dynamics released a slew of singles and two albums but never achieved any sustained chart action; they’re visually unknown to most, even to those who know their recordings. “What a Shame“, the title track, is arguably their best single, a sweet falsetto sings the woeful tale in a mournful voice usually associated with wakes and funerals. Like everything else on the album, it was written and produced by the now-deceased Ronnie Shannon, an eccentric songwriter from Detroit who gained fame writing hits like “Baby, I Love You” for Aretha. “Woe Is Me” paves the same mournful path, as does “You’ll Never Find a Man Like Me“. Shannon speeds it up on “Shucks I Love You“, a happy-in-love tune carried by an airy falsetto lead. Brass is prominent on “Funky Key“, a groove daddy that probably worked better live; the lead is rough, countering the melodic and smooth backing vocals. The Dynamics had at least three lead singers and used them all. “Count Your Chips” is a slow beauty, typical of sounds emanating from Philly, yet it failed to sell despite a sugary lead vocal. Other notables include “Voyage Thru the Mind” and “Let Me Be Your Friend“.

(Bio and Review by Andrew Hamilton, All Music Guide)

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Buy the vinyl from ebay or Groove Collector and a digital copy from Amazon.

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Do not miss their debut album “First Landing” in our back pages here.

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