Funk my Soul

A superb album finally gets a release.

Never mind crate digging, the new thing is archive digging, and soul is proving to be especially rewarding territory. These 1973 tracks, most previously unreleased, offer yet another sterling example. Amnesty was an Indianapolis band combining the vocal talents of the Embers and the instrumental skills of the Crimson Tide. Their mix of harmony-vocal soul with deep funk will please P-Funk fans, while occasional traces of Afrobeat recall Osibisa and Mandrill. There’s nothing about the thoroughly enjoyable music here that explains why it wasn’t released at the time, until the bit in the booklet notes that says the Lamp label for which they recorded specialized in rock. The 1970s’ loss is our gain now that this killer album has finally appeared.

This is a 320 CD rip of the Now-Again Records CD including covers.

Tracks
1 Can I Help You? 7:41
2 Love Fades 3:32
3 Mister President 4:19
4 Free Your Mind 5:51
5 We Have Love 4:32
6 Lord Help Me 3:38
7 Three Cheers for My Baby 4:10
8 Trouble Will Remain 2:34
9 We’ve Come a Long Way 1:54
10 Liberty 2:40

Fans of the exquisite, often never-before-released funk championed by Stones Throw’s reissue wing Now-Again Records are no stranger to Amnesty.

Based in Indianapolis in the early 1970s, the group released only two obscure 45s in their recording career. Birthed from the same scene as The Ebony Rhythm Band (Soul Heart Transplant - NWG 5011), Amnesty had a poltical edge similar to L.A. Carnival (Would Like To Pose A Question - NWG 5009) and the hardest brass section since The Kashmere Stage Band (Texas Thunder Soul - NWG 5023). Only one Amnesty song has ever been released on CD: “Free Your Mind” appeared on the most widely distributed Now-Again album to date - Cold Heat: Heavy Funk Rarities 1968-1974, Vol. 1 (NWG 5017).

This previously unreleased anthology comes from the same sessions as “Free Your Mind.” In 1973, Amnesty recorded five hard, vocal funk numbers alongside some ballads and a handful of demos based around nothing more than guitar accompaniment. Only two songs were ever released. While Amnesty’s ting, difficult-to-categorize prog funk/soul/rock could potentially reach far beyond Indianpolis’s bounds, the band never found a label to take them to the next level.

Obviously influenced by, but by no means simply imitators of, the sound of early Parliament and Funkadelic, Amnesty also responds to the grooves of Earth Wind & Fire and Sly & The Family Stone in their own way.

Finally made available 33 years after they were recorded, these songs present a funk style arranged with dangerous complexity and performed with precision - arguably the most unique funk to originate from Naptown, and some of the best music of its kind. (www.undergroundhiphop.com)

Long relegated to various ‘rarity’ compilations, Indianapolis eight-piece Amnesty (meaning ‘second chance’) have finally been recognised in a collection of recordings kept by long-time band archivist, bassist, and keeper-of-the-faith James ‘Red’ Massie. The result is a melting pot of early ‘70s psychedelic funk, jazz, rock and vocal harmonies. A strange combination, it attempts to catalogue the group’s evolution as they seek satisfaction in their second stab at fame.

Although they originally released only one 7-inch for the Lamp label (home of other psychedelic funk acts such as The Ebony Rhythm Band and The Diplomatics), Amnesty found a home at Moe Whittemore’s 700 West Studio in 1973. Here, along with that fateful 7-inch, they taped five hard funk numbers and a string of ballads and demos. From these sessions, they released “Three Cheers for Baby” and “Lord Help Me” as the B-side. The former song showcases their vocal abilities and their love for Temptations-inspired harmonies. Similar to other tracks on this compilation such as “We’ve Come A Long Way“, the backing of these vocal tracks is incredibly gritty and real. Amnesty’s sophisticated sweep and flow of horns, wah-wah, and percussion produces an amazing intensity; one which transcends the boundaries of pop.

On the released B-side, “Lord Help Me” dishes out a hot serving of supergroovalistic-parliament-thang. While the brass arrangement doesn’t sit with the likes of Fred Wesley, the call/response idiom familiar to gospel and the scathing proto-political/economic musings (‘the price of meat/almost higher than dope in the streets’) are a fine slice of funk. This particular track sheds real light on the group’s potential.

Elsewhere, the opener “Can I Help You?” and “Mister President” seem to combine the rhythms of Cymande with the psychedelic contemplations of Indianapolis brothers-in-arms Ebony Rhythm Band - a combination which seems to flavour many of the featured recordings. Love Fades is also steeped in funkadelic flavours that wouldn’t be out of place on Cosmic Slop.

Not only does Free Your Mind showcase the talent of a greatly overlooked funk act, it is also a damn fine record for your average funk listener. (Tom Noonan)

Buy it from Ebay or Discogs or Amazon

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An incredible bit of southern funk - the first landmark LP by Archie Bell & The Drells, and the first big burst of energy from the Texas scene of the 60s! The album’s incredible - with Archie up front on rough-hewn vocals, the band grooving in a mad tangle of guitar, bass, and drums, and some super-fierce horn work by the TSU Tornadoes! You’ve no doubt heard the band’s classic “Tighten Up (part 1)”, but this album also includes the incredible “part 2″ to the track - which takes the groove a million miles higher! (Dusty Groove).

Tracks
A1 Tighten Up (Part One) 3:10
A2 Tighten Up (Part Two) 2:52
A3 I Don’t Wanna Be a Playboy 3:00
A4 You’re Mine 2:46
A5 Knock on Wood 2:30
B1 Give Me Time 2:29
B2 In the Midnight Hour 2:27
B3 When You Left Heartache Began 2:36
B4 A Thousand Wonders 2:08
B5 A Soldier’s Prayer, 1967 2:54

Archie Bell formed his back-up singing group the Drells in 1966 with four local friends from Junior High School in Houston, TX. In 1967 Bell’s career got sidetracked when he was drafted and sent to Vietnam. While he was on leave back in the States in 67, he cut his most famous single Tighten Up, which became a #1 hit, selling almost three million copies. The single would later form the backbone of this LP, which also reached the RnB Top 20. Ironically, while Bell should have been basking in his fame, he was instead, recovering in a hospital in West Germany after being shot in the leg in Vietnam. He was only able to perform for short periods during leave and the Drells actually performed many times with a fill in, James Wise. The first time I heard the album I had to listen to it again. It opens up with Tighten Up (Part 1), but it’s a different mix than the one on the 45 that you hear on the radio all the time. This version starts off with an open bass line and seems a little slower. No matter which way it’s played though, it’s still a classic tune that has short drum break towards the beginning. The band also busts out with lively versions of Knock On Wood and In The Midnight Hour. I also like the cover artwork by Loring Eutemey who did a couple others for Atlantic that features a man and woman dancing in hip 60s gear.

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Official biography and other stories on Soul Patrol.

Buy the vinyl of the group on Groove Collector.

Buy both albums on CD on Amazon.

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A stormer from Archie Bell & The Drells - one of our favorite soul albums ever, and a masterpiece of mid-tempo soul! Archie Bell & The Drells sound amazing here - light years from the rougher funk of their earlier years, yet still with a groove that’s undeniable - an incredible meeting of soul music scenes handled by the young Gamble & Huff team - who not only produce most of the record, but also wrote most of the tracks on the set! The groove is lightly lilting, and totally on the money - a sound that’s incredible, and hard to describe in words — but which really grabs us from the get-go. All tracks are great, and totally fresh (Dusty Groove).

Tracks
A1 I Love My Baby 2.42
A2 Houston, Texas 2.41
A3 (There’s Gonna Be A) Showdown 2.44
A4 Giving up Dancing 2.22
A5 Girl You’re too Young 2.23
A6 Mama Didn’t Teach Me That Way 2.39
B1 Do the Hand Jive 2.27
B2 My Balloon’s Going Up 2.27
B3 Here I Go Again 2.15
B4 Go for What You Know 2.07
B5 Green Power 2.23
B6 Just a Little Closer 3.25

1968 saw Archie Bell and the Drell’s begin a partnership with producers/writers Kenny Gamble and Leon Huff.  Over the next year the parties collaborated on a series of five singles:

- 1968’s ‘There’s Gonna Be A Showdown’ b/w ‘Go For What You Know’ (Atlantic catalog number 45-2583)# 21 pop; # 6 R&B
- 1969’s ‘I Love My Baby’ b/w ‘Just a Little Closer’ (Atlantic catalog number 45-2612) # 94 pop; # 40 R&B
- 1969’s ‘Girl, You’re Too Young’ b/w ‘Do the Hand Jive’ (Atlantic catalog number 45-2644)# 59 pop; # 13 R&B
- 1969’s ‘My Balloon’s Going Up’ b/w ‘Giving Up Dancing’ (Atlantic catalog number 45-2663) # 87 pop; # 36 R&B
- 1969’s ‘Here I Go Again’ b/w ‘A World Without Music’ (Atlantic catalog number 45-2693)

Perhaps realizing the group’s audience was rapidly dwindling, rather than finance new studio material, Atlantic management was apparently content to collect the singles (nine of the ten sides - the 1969 ‘B’ side A World Without Music” was missing in action) along with and three studio odds and ends, releasing the package as 1969’s “There’s Gonna Be a Showdown”.  In spite of it’s haphazard roots, the results were surprisingly impressive.  Responsible for most of the material, Gamble and Huff displayed a keen knack for crafting highly commercial material that was soulful, but also had a distinctive pop edge.  For their part Bell and the Drells (Willie Pernell, Mark Putney, and James Wise), seldom sounded as good turning in strong performances on all but the most routine numbers.

Even though the group’s singles continued to do well, the parent LP was a mediocre performer, peaking at # 163 on the pop charts.  While Bell and company continued to release 45s for Atlantic through 1971, this unfortunately marked their final studio LP for the label. The moved to Philadelphia International for 3 more albums between 1975-77.

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As you may have already noticed in comments and c-box,  Mr.Moo responded  and kindly provided us with the Anacostia 1977 debut album, we all were so anxious to listen to.  It sounds wonderful from the remastered CD. Furthermore he sent us both vinyl and CD covers.

There’s not much to add about the Smooth Groovy Soul of Anacostia (I am pretty sure you enjoyed their 2nd album). The group consisted of Tony Boyd, Ron Sinclair, Tommy Williams and this one is very sweetly and soulful with nice male falsetto-vocals.

This is a @320 CD rip of the remastered CD including covers

Tracks
1. Heartache In Disguise 6.09
2. Looking Over My Shoulder 3.51
3. Everybody Dance 4.38
4. We Can’t Live Life Alone 3.49
5. Face The Fact 3.52
6. What Kind Of Love 3.46
7. I Can’t Stop Loving Her 4.38
8. Words Spoken Softly At Midnight 3.22
9. Baby I’m Available 3.07

Review from Dusty Groove

Mellow soul and soaring club  all nicely balanced together in this first album from the group Anacostia! There’s a sound here that’s slightly different than some of the other east coast groups of the time  a willingness to slow things down, then groove them up, all with a sound that’s polished, but never in a too-commercial sort of way. In fact, most of these tunes seem to aim for a space that’s pretty far both from radio, and conventional disco, despite the fact that Van McCoy supervised the production, which is mostly handled by Charles Kipps. There’s a fair bit of strings in the backings, and keyboards are by Richard Tee,  on titles that include “Looking Over My Shoulder”, “Heartache In Disguise”, “We Can’t Live Life Alone”, “I Can’t Stop Loving Her”, “Baby I’m Available”, and “Face The Fact”

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Listen up the amazing 45, “On And Off” wonderfully produced by Van Mac Coy. He also did it on later albums with David Ruffin and Peaches & Herb.

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Now, A MUST HAVE as Raphy mentions : 3 rare 45’s of Anacostia not including on those 2 albums already posted.

1. Love Is Never Wrong 3.37
2. On And Off 3.24
3. You Better Know What You’re Doing 3.27

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Enjoy the treasure and show your love and gratitude to Mr.Moo and Raphy.

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One of the most beloved and dedicated followers of the blog, brother Raphy from Jamaica sent this rare gem to me. To be honest, I wasn’t familiar with this cult soul group of the late 70’s and took me sometime to realise how great it was.  Those who love Smooth Soul groups like -  The Moments, The Main Ingreadient, Black Ivory or The Chi-Lites - would be thrilled with the group.  They were known as The Presidents, just before they became Anacostia. They hailed from D.C.

Anacostia make the move to Tabu Records for this sweet second set and they seem to have picked up more of a groove along the way! The same elements as before are firmly in place here  production by Charles Kipps, with supervision from Van McCoy but the groove is a bit more focused, in ways that slide out spaciously with that warmer modern soul feel that made Tabu a real up-and-comer of a soul label in the late 70s. There’s a few nice mellow cuts, mixed with more upbeat groovers (Dusty Groove).

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

Tracks
A1. Ain’t Nothing To It 3.35
A2. Take It Or Leave It 3.23
A3. Baby Don’t Ever Leave Me 3.03
A4. Anything For You 3.31
A5. Another City Morning 3.06
B1. You’ve Got Love On Your Side 2.26
B2. Your Unchanging Love 3.14
B3. I Don’t Need 3.11
B4. Someone Else’s Eyes 2.27
B5. All For You 3.21

Raphy in his own words:

“I ripped this Album especially for Nikos and all the crew & friends of Funkmysoul from my personal collection of vinyl records I acquired over the 11 years I’ve been collecting….. It may seems a very short time to some, but it’s the volume that counts. I have over 4,500 Lps and countless singles. So that feat left me …pennyless! But I’m not complaining. What I have is GOLD, where as the value always appreciate… Nikos has shown me the real meaning of Kindness, and so to show my appreciation, I’m giving back!!

When Nikos asked me to write a short review, I thought it would be easy. So I instinctly googled the name….and, ‘Click-Click’….Nothing of worth comes up!!!! So I am just using the little knowledge I have re this classic group.

The first time I came to know this group was the released of the singles “You Better Know What You’re Doing” and “On and Off”…Two Smash Hits in Jamaica…

This particular album has at least two Great Lovey-Dovey Classic, that still being rotated on all the major Radio Stations & Sound Systems. (1) “Baby Don’t Ever Leave Me” and  (2) “I Don’t Need”

Those two songs have cemented in the psychie of all music lovers.

There are other good Shots on the album, for example, The acoustic sound of “Another City Morning” and the Up Tempo “Ain’t Nothing To It” & “Take It Or Leave It”. What Can I say about the deep ballad, “All For You”….So sweet!!

It’s a bit difficult to compare this group to others, because of the great balance of Sweet Ballad & funky Up Tempo, somehow they deliver with soothing ease. The group “New York City” probably comes close..

Let’s not forget the magician behind this all. No other than the GREAT MAN Van McCoy….

So folks, Enjoy this Collector’s Gem”

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There was a CD released in 2006 but it is out of stock almost everywhere. Get your change here and buy the vinyl here. Now listen their unique sound from their first album : “I Can’t Stop Loving Her”

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One of the all-time soul classics from Atlantic  the fantastic debut of singer Arthur Conley, introduced as a protege of Otis Redding, who also produced the record! The sound is similar to Otis’ own work, but often a fair bit rawer and Redding works here with both Jim Stewart of Stax and Rick Hall of Fame Studios, ensuring that the album has equal doses of Memphis and Muscle Shoals in the mix! Otis also wrote some great tracks for the album, along with Conley and the legendary Dan Penn  and although the title track is Conley’s huge single “Sweet Soul Music”, the album is filled with loads of other great original tracks.

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

Tracks
A1 Sweet Soul Music 2.20
A2 Take Me (Just as I Am) 2.57
A3 Who’s Foolin’ Who 2.32
A4 There’s a Place for Us 2.45
A5 I Can’t Stop (No, No, No) 2.29
B1 Wholesale Love 2.18
B2 I’m a Lonely Stranger 2.44
B3 I’m Gonna Forget About You 2.11
B4 Let Nothing Separate Us 3.05
B5 Where You Lead Me 2.30

Arthur Conley was being groomed to be the next big thing in southern soul by none other than Otis Redding.  Sweet Soul Music, Conley’s debut, was released as a vehicle for the wildly successful single of the same name.  The other 9 tracks are earlier material from Conley that failed to chart in its time, but should be regarded as essential deep soul today - sung by a voice that could clearly and honestly express the darkest emotions on one take, and whoop out the dance anthems on the next.  “Let Nothing Separate Us” and “Take Me (Just As I Am)” are two fantastic highlights.  Half the songs on Sweet Soul Music were written or co-written by Otis Redding, who also produced the entire album (heck, Redding even wrote the liner notes) and so it should come as no surprise that Conley never really recovered (both professionally and personally) when Redding tragically died just as Conley was making a name for himself.  We still have Sweet Soul Music though, and it truly is what it advertises itself as.

Fans of Wilson Picket, Eddie Floyd, Sam & Dave, James Brown, Sam Cooke, William Bell or Otis Redding will enjoy every bit of this album.

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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”

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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”

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