Funk my Soul

Hi everyone. To those of you who have only recently joined us and to those who have followed us since the move from Lost-in-Tyme.

IT’S BEEN TWO YEARS

Yes folks, that’s how long Nikos and the gang have been collating this glorious homage to the best of funk and soul from the 60s, 70s (and occasionally the 80s) to provide what we would like to consider one of the best of its kind. And without your continued support for what we are trying to do, it would have finished long ago - so an incredibly important thank you to all of you who have taken time to leave a comment. We would also like to give whole-hearted blessings to all the artists and their loved ones who have contacted us over the years and provided invaluable insight into their world. I think it really proves we are doing something right and I know we would all like to show our appreciation to our heros with a huge cyber round of applause.

And to our contributors who have been so instrumental in maintaining the high standard and expectancy of the posts, a humungous warm thank you to Groovy Emmanuel, Mr Moo, Trakbuv, Raphy, MsMerising, and to many others we have omitted here - ta very much for your time and commitment. And of course to the man with the masterplan, give a great big hand to the Greek Soul Daddy, brother Nikos.

So a gracious Happy Second Anniversary to us and long may FunkMySoul continue to promote, educate, satiate, and proliferate. Thank you all and God bless you all.

To celebrate this prestigious occasion, we have a real rarity for you this week, provided over a month ago from one of our dear readers. We are proud to present Ike Noble’s debut LP “Fresh Start” from 1981. Heavily sought after for the crowd pleaser ‘I’m gonna miss you’, but also a wonderful LP in its own right.

This is a @320 vinyl rip of the original Connowil LP

Tracks
A1.Another Star 4.28
A2.Your Love 4.51
A3.Everybody Get Up And Boogie On Down (Y’All) 4.42
A4.I promise you 2.59
B1.Never Get Enough Of Your Love 4.39
B2.Love To Be Loved 5.28
B3.I’m Gonna Miss Your Love 4.36
B4.I’ll Love Only You 4.21

Review by Trakbuv

Mr Ike Noble - I regret to say I could find no personal information about this guy, which surprises me considering how respected a singer he is. The earliest recordings of his voice would appear to be a pair of live takes for the Ohio-based label Alley Records during the sixties, where he was backed by The Uptights. I’m guessing that The Uptights may be the same outfit that later backed Marvin Holmes on the fabulous ‘Ooh ooh the Dragon’ Northern Soul goodie, among others. The smouldering ‘She’s got to be loved’ (a great rendition of the Tyrone Davis classic ‘A woman needs to be loved’) and the spritely ‘That’s what I get’ are both welcome introductions to his slightly gruff, soulful tenor. The latter provided the b-side to his first official recording, ‘It’s bad’, an absolute storming midtempo beauty (1967, Alley Records) - check this one out ! I also managed to cite a single by Noble and the Uptights entitled ‘Don’t worry about it’ on Action Records (written by Izear Noble - the one and same ?).

In the seventies, 1976 to be exact, he released a single out on Smoke Records entitled ‘She’s all I need’ that reminds me of Tyrone Davis around this period. The b-side is also memorable with some intriguing synth injections. So far so good, for sure. Well someone sure thought so at Connowil Records on signing him for his debut long player, “Fresh Start”. For me, this is one of the first great LPs that came out of the dawn of indie soul that went on to dominate the eighties with their limited, economic use of musicians. Having said that, the musical integrity of this LP is top notch with real horns and strings, and a girl chorus still finding a place in the ever downsizing studio. The big hip track that DJ’s were leaping on to be the first to air was “I’m gonna miss your love”, a first rate rare groover that really shows off his undoubted soulfulness over a delightful arrangement. The uptempo tracks are less memorable for me, with respectable versions of Stevie’s “Another Star” and LTD’s “Never get enough of your love”. For me, the LP is wisely biased towards slower material where we really are treated some delicious retrofied delights. “I promise you” is faultless - a meticulously constructed throwback to, say, The Independents - a beautiful blend of Southern and Sweet Soul topped with a creamy girl chorus. His voice has a lovely smoothness on the wonderful “Your love”, this time reminding me of a Leroy Hutson ballad in texture. “Love to be loved” is another goodie, and on “I love only you” there is even a little of Tyrone Davis in his voice accompanied by some great harmonies.

He followed up this mighty fine LP with “Lonely People” in 1982 which combined several of the ballads on here with some more stunners, and with just two straight uptempo numbers, it had an even more mellow flavour. He released a solitary 7in funker in 1985 entitled “It’s a party”. The excellent UK-based outlet Timeless Records re-released “Lonely People” on CD and LP in 1987, but “Fresh Start” has never had a CD release. Or so I thought. There is an obscure CD release from as recent as 2008 released on the Connowil subsidiary Reppiks Records (available here). The title is “Hotter Than Heat” by The d’ Kalendars, featuring a mix of some of the key tracks from “Fresh Start”, a few nice unreleased uptempo tracks and some instrumental fillers. They also followed it up with a CD entitled “Ike Noble and friends” (available here) featuring 6 tracks by the man including the more uptempo numbers from “Fresh Start”. Some wily marketing strategies at work here, methinks.

You must be very lucky to buy this vinyl under 250$, check for the prices of the latest vinyl sold, here.  There are 2 vinyl copies available on Groove Collector from 450$. Imagine that the single “Another Star/Your Love” is on sale now on Ebay for 250$. Since there’s no CD release yet, listen to the wonderful groover “I’m gonna miss your love” and enjoy the whole album.

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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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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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Curtis is easily and rightly recognized as one of the principal architects of soul music. He developed such distinctive styles out of his gospel backgrounds, that in turn contributed greatly to the shaping of black music in general, both acting as a member of The Impressions and later running his own solo career.

The Impressions - 1968 - We’re A Winner

A new level of pride and power for The Impressions  as you might guess from the bold statement of the title track! It may seem hard to believe from the perspective of the 21st Century, but back in the mid 60s, a message like “We’re A Winner” was quite a strong one — a new anthem of righteous identity that was one of the first truly political statements from a young Curtis Mayfield, and a great precursor of the genius to come in the 70s! But even at this early state, there’s still plenty of genius going on  not just in Mayfield’s sublime songwriting, but also in the harmonies of the group, and the beautiful treatment they get in the studio from arranger Johnny Pate. The album’s one of their key classics from the ABC years.

Tracks
A1   We’re A Winner (2:22)
A2   Moonlight Shadows (3:08)
A3   Let Me Tell The World (3:10)
A4   I’m Getting Ready (2:30)
A5   Nothing Can Stop Me (2:40)
B1   No One To Love Me (2:30)
B2   Little Brown Baby (2:35)
B3   I Loved And I Lost (3:10)
B4   Romancing To The Folk Song (2:35)
B5   Up Up And Away (2:55)

Review by Groovy Emmanuel

In 1968 The Impressions were an already ten years veteran group, and that year proved to be their most successful with the release of their final album for ABC “We’re A Winner” and the formation of Curtis’ new label Curtom Records. And what a turning point that was! The motto “We’re A Winner” was to be printed under the word “Curtom” on the label ever since, and The Impressions were the first artists to be signed.

But more important were the songs. Deeply humanistic songs that represented strongly the highest ideals and aspiration of African Americans, songs delivered to underline the power of love, pride, respect and self-achievement in their daily lives in American society. The hit single “We’re A Winner” with its driving funky beat, inspired by the civil rights movement, stands proudly as a strong demand in these changing times for African Americans in asserting themselves as equal human beings in American society, despite the fact that black radio didn’t really support it back then! In Curtis’ own words: «That was a song locked in with Martin Luther King, and easily could have caused the controversy, but it was a song with an inspiring message, and that wasn’t really what radio was all about in those times.». But what can we say then about “I Love And I Lost”, the album’s other hit single. A fine ballad for sure.

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The Impressions - 1968 - This Is My Country

This Is My Country has The Impressions wearing their politics much more on their sleeve than before  with a cover that shows them standing in the rubble of the ghetto, and a title that is both a bold proclamation of ownership, and a sad comment on the state of affairs. Curtis Mayfield’s pen is in perfect form here, and the group hits that perfect mix of sweet soul and politics that make these late 60s efforts some of their (and Curtis’) strongest work, with harmonies that far surpass the earlier years, and which still kind of make us wish that Curtis hadn’t gone solo, because we just love the sound of his sweet raspy voice next to the deeper style of Fred Cash.

Tracks
A1   They Don’t Know (2:45)
A2   Stay Close To Me (2:02)
A3   I’m Loving Nothing (2:27)
A4   Loves Happening (3:07)
A5   Gone Away (3:42)
B1   You Want Somebody Else (3:10)
B2   So Unusual (2:55)
B3   My Woman’s Love (2:58)
B4  Fool For You (2:50)
B5   This Is My Country (2:47)

Review by Groovy Emmanuel

And then The Impressions moved to Curtom. It was summer of 68. And yes. it was “This Is My Country” LP and some more big “message” songs. Curtis’s own words yet again: «This Is My Country just spoke straight out as to the prior years of being a black man and relating to it just inspiringly but strong as to how I felt in reference to my country and how I’d earned it. Earned the right to say, “This is my country!!». And that is the documentation right here. Gospel roots turning blue, turning proud, turning self-consciousness!

Musically, this is the transformation of one man singing gospel into a three-part switch-off lead, in other words how one man singing lead is able to incorporate into the blend of the group. How everyone comes out and sings in harmony a portion of the lead part, and consequently how a only three-man group can sound as a five-man piece unit or even more. And The Impressions were unique in just doing this perfectly, and all these under some magnificent arrangements by the great Johnny Pate.

Overall, “We’re A Winner” signalled the beginning of a significant political phase (at least in the field of self-consciousness, if it’s ever gonna be.) which in fact began with “This Is My Country” lp and continued with “The Young Mod’s Forgotten Story” lp (to be found here). Changing times for sure. In 1970 Curtom released the last Impressions lp to feature Curtis “Check Out Your Mind”. Later that year Leroy Hutson was to become the new lead singer for the group and the first album from this new line-up was to be titled “Times Have Changed”.. Oh dear, what a story!

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A legendary soul album of the 60’s. The unrivaled Soul Queen of New Orleans.

Take A Look at Irma Thomas and you’ll be taking a look at an outstanding talent. Irma Thomas is in that special category of recording artists who knows what the word interpretation means. She is able to take lyric and melodies, some of which are written by her, and give full vibrancy and feeling to their meaning.

On Wish That Someone Would Care, Irma’s in excellent form alongside some killer arrangements from HB Barnum all in a groove that takes New Orleans roots and mixes them with a greater sense of power and majesty an approach that’s a bit like some of Solomon Burke’s work over at Atlantic Records at the time, but with an obvious female soul spin overall. Barnum’s tight arrangements also open up Irma’s sound in a way that some other arrangers could never reach and the album’s a killer through and through

This is a @320 vinyl rip of the original Imperial records LP including covers. You can buy both her Imperial records on one CD here.

Tracks
A1. Wish Someone Would Care 2:20
A2. I Need Your Love So Bad 3:10
A3. Without Love (There Is Nothing) 2:57
A4. Please Send Me Someone To Love 2:28
A5. Another Woman’s Man 3:03
A6. Sufferin’ With The Blues 2:18
B1. Time Is On My Side 2:53
B2. While The City Sleeps 2:53
B3. Straight From The Heart 2:26
B4. I’ve Been There 2:37
B5. I Need You So 2:21
B6. Break-A-Way 2:30

The Reviews

Wish Someone Would Care is marked by the skills of noted arranger H.B. Barnum, who isn’t afraid to give Thomas the sonic support needed to make the most of her versatility. She illuminates the deeply soulful “I Need Your Love So Bad” and the remake of Percy Mayfield’s “Please Send Me Someone to Love.” However, she is probably best known for “Time Is on My Side” which resurfaced as a British Invasion hit for the still-wet-behind-the-ears Rolling Stones. Much closer to home, Thomas racked up kudos for her take on Jackie DeShannon’s “Break-A-Way,” again influencing a Brit as Tracey Ullman gave it an overhaul to great effect.

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It’s because of powerful platters such as this that vocalist Irma Thomas would rightfully garner the crown as the undisputed Queen of New Orleans’ thriving R&B scene. She established her reputation as a no-nonsense soul sister with the attitude-driven “You Can Have My Husband (But Don’t Mess with My Man),” “A Good Man,” and the regional hit “Look Up” prior to landing at the Crescent City powerhouse Minit Records. It was there she joined forces with the musical wunderkind Allen Toussaint who provided Thomas her next batch of notable sides, specifically “It’s Raining” and “Ruler of My Heart” (aka “Pain in My Heart”). She was also among those to make the transition to the significantly larger Imperial Records after they purchased Minit in 1963. Wish Someone Would Care (1964) was the first of two long-players that Thomas released during her brief (1964 — 1966) run on the Imperial roster. The album opens with the yearning torch balladry of the title track “Wish Someone Would Care” featuring Thomas supported by the inimitable H.B. Barnum, who tempers her remarkably versatile voice in the first of several sensitive arrangements. “I Need Your Love So Bad” is reflective of the guttural and bluesy style commonly associated with the likes of Otis Redding and James Brown. Here, Thomas definitely gives the boys a run for their money. The melody of “Without Love (There Is Nothing)” bears a striking resemblance to the “Tennessee Waltz” during the languid verses. The chorus, however, finds Thomas calling on her gospel roots to really “sell” the performance to great aplomb. Her update of Percy Mayfield’s “Please Send Me Someone to Love” is a stone classic and easily takes on Odetta and Esther Phillips’ respective versions with plenty of power to spare. “Time Is on My Side” — initially relegated to a 45 rpm B-side — found its way across the Atlantic ocean where it would take on a life of its own once the Rolling Stones covered it less than a year later. Similarly, Thomas’ reading of the Jackie DeShannon co-penned “Break-A-Way” became a runaway smash throughout the bayou. And though it seemed to attract little attention elsewhere in the States, it has been remade to great effect by Tracey Ullman. Both the LP and single for Wish Someone Would Care crossed over onto the pop charts, simultaneously giving Thomas her only Top 40 single and Top 100 Album entry.

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Read full biography here.

Listen up The Queen of The New Orleans

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I would like to thank cafecafecafe who cleaned this vinyl rip perfectly and Raphy for his support.

This post is dedicated to the people of New Orleans.

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Luther Ingram’s Week continues with his rare debut on koko label, 2nd contribution from Groovy Emmanuel.

Luther, one of the greatest talents of his generation first got his start doing rougher, more fragile soul tunes but by the time of these 70s recordings, he’d really found his voice and hit a more confident, more sensuous style that could easily go head to head with Al Green or any of his southern soul contemporaries. There’s a key Stax connection to most of the material here, but the sound’s a bit different too thanks to the production efforts of Koko label head Johnny Baylor, who gives Ingram a sound that’s nicely apart from the pack.

This is a @320 vinyl rip of the original Koko Records inluding covers.

Tracks
A1. Ain’t That Loving You (For More Reasons Than One) 4.07
A2. You Were Made For Me 3.57
A3. Oh Baby, You Can Depend On Me 2.08
A4. My Honey And Me 3.15
A5. I’ll Just Call You Honey 2.51
A6. Since You Don’t Want Me 4.18
B1. Missing You 3.24
B2. I’ll Love You Until The End 3.43
B3. Be Good To Me Baby 4.11
B4. Pity For The Lonely 2.46
B5. To The Other Man 4.00
B6. Ghetto Train 3.46

Here is Groovy Emmanuel in his own words :

“Thanks a lot brothers for the quality of comments you posted here about Luther’s “(If Loving You Is Wrong) I Don’t Want To Be Right”. And thank you Nikos for sharing our need to communicate!

Now we’re going for his first ever career album, “I’ve Been Here All The Time”. And what a great title to begin with, eh? So true! He’s been here all the time for sure, firstly by singing in a family gospel group, then by forming a secular vocal group along with his brothers (Luther was one of seven children, happy mom and dad!), they actually cut a 45″ produced by the likes of Ike Turner, and finally by starting a solo career in the early sixties by moving to the Big Apple, where he cut his own composition “You Never Miss Your Water”, which subsequently was drowned in some real deep waters, indeed!! He hit the bottom of the chart!!! But the man could write songs, and so on he did some background sessions there collaborating with Johnny Nash and the famed producers Jerry Leiber and Mike Stoller. He even shared a room with a young Jimi Hendrix for a brief spell! Oohh, some cold N.Y. weather for a southern kid!

And then in 1968 he went back south and signed to Koko, where he finally hit the charts with “Pity For The Lonely” (the ever lasting sad sound of southern soul..) and his own “My Honey And Me” covered succesfully later by Stax’s Emotions. Luther’s third single “Ain’t That Loving You (For More Reasons Than One)”, originally sung by Johnny Taylor for Stax (yet again!) in 1967, became his first top 10 r’n'b hit!

And that is how we’ve come to the release of his first full album which includes a couple of further hit singles apart from these mentioned above.

Now, enjoy it brothers, this is a little piece of history, a small detail perhaps, but a tasty bit of spice in a great meal, and that is seventies soul music.”

Wiki for: Jerry Leiber and Mike Stoller and Johnny Baylor

Watch Luther’s sixth Koko single “I’ll Just Call You Honey”

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Don’t forget to show some love and respect to Groovie Emmanuel, brothers.

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This is Luther Ingram’s week brothers as you have requested it!

But first, let me say a few words how we’ve come here. I met Groovy Emmanuel through the comment section of this blog. His comments were of the most vital and interesting ever posted to this blog since its opening in May 2008, comments that, in my opinion, point out a deep knowledge of black music in general. Having an almost daily communication with him since then, Groovy Emmanuel suggested and I gladly agreed to send me some vinyl albums out of his collection so I can post them. And here we start with two of Luther Ingram’s Koko releases we’re going to post this week. First the 1972 classic “(If Loving You Is Wrong) I Don’t Want To Be Right”. I also asked Groovy Emmanuel to look after the reviews, and here we go brothers with his own words…

This is a @320 vinyl rip of the original Koko record including covers.

Tracks
A1 (If Loving You Is Wrong)I Don’t Want To Be Right (3:32)
A2 I’ll Be Your Shelter (In Time Of Storm) (3:20)
A3 Always (4:25)
A4 Dying & Crying (3:48)
A5 Help Me Love (3:47)
B1 I’m Trying To Sing A Message To You (4:20)
B2 I Remember (3:20)
B3 I’ll Love You Until The End (5:21)
B4 Love Ain’t Gonna Run Me Away (5:05)
B5 I Can’t Stop (3:16)

“It is odd enough brothers, every time we think of Luther Ingram, Stax Records comes in mind somehow, even though Luther never recorded for the famous Memphis label. It is southern groove aura after all.

Luther was born a few miles from Memphis in Jackson Tennessee and after a long period bouncing around in various projects, he signed to tiny Koko Records based nearby Memphis. And thus got connected to Stax, after Koko made a deal for Stax distribution in 1969. There he hooked up with in-house songwriter Mack Rice (of ‘Mustang Sally’ fame) and in 1971 the duo penned one of the all time greatest soul anthems in Staple Singers’ ‘Respect Yourself’. In fact, Mack wrote the melody after a conversation he had with Luther, where Luther himself stated something along the line ‘black folk need to learn to respect themselves’. The track was recorded down route 72 Memphis at the Muscle Shoals studios in Alabama where several of Stax’s writers have already made the trek to 3614 Jackson Highway doing sessions for the label. One of the first songs produced there, was Homer Banks, Raymond Jackson and Carl Hampton’s (a fine Stax songwriting trio) gem ‘(If Loving You Is Wrong) I Don’t Want To Be Right’. The song was to be cut by a newcomer to Stax young lady named Veda Brown, but unfortunately for Veda Stax chose not to release it (!) to the benefit of both Koko and Luther who recorded it shortly after and stormed his way to #1 r’n'b and #3 pop. Not a bad thing for Stax either, since it distributed it nationally. It proved so popular that Stax made sure it appeared in both the Wattstax movie documentary and accompanying soundtrack, even though Luther didn’t even perform at the LA Coliseum benefit concert, by arranging to record Luther singing on a soundstage before an appreciative audience (see video below).

To cut it short fellas, this is the second of Luther’s albums in Koko, named after the million seller single, recorded at Muscle Shoals and is fully packed with a number of excellent tracks and further hits in ‘I’ll Be Your Shelter (In Time Of Storm)’, ‘Always’ and the beautiful road song ‘Love Ain’t Gonna Run Me Away’.

This is for you music lovers around the world, an homage to this wonderful performer, the late Luther Ingram and a standing ovation to one of the biggest rhythm sections in r’n'b saga, the Muscle Shoals in house band. Respect.”

So, Big Up! Groovy Emmanuel and hope we have some more great posts, shortly.

Listen to If Loving You Is Wrong:

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