Funk my Soul

Mike James Kirkland may be a new name to some of you, and to many of you, only through a recent archaeological find in “Hang on in there”, a throwback to Marvin’s “What’s going on”, although made independently (and prior to) that particular milestone. Well here is his follow-up LP from 1973, “Doin’ It Right” the slightly scruffier partner to “Hang On In There”, but just as intensely satisfying.  Socially and romantically inclined mellow jellow from the top drawer.

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

Tracks
A1 Got To Be Right 3.55
A2 It’s Too Late 4.10
A3 O Me O My (I’m A Fool For You Baby) 4.20
A4 You Put It On My Mind 3.50
B1 Doin’ It Right 8.15
B2 Love Is All We Need 4.15
B3 Love Insurance 2.57
B4 The Only Change 4.55

Review by Trakbuv

For me, one of the great discoveries of the 1990s was Mike James Kirkland’s “Hang on in there” - and the subsequent awesome CD. It was also significant in making me aware of the possibility of many musical losts being found by Indiana Jones wannabes - rescued from the catacombs of obscurity to finally reach the public spotlight. And sure enough, his follow-up LP from 1973 surfaced a few years later on 12cm of shiny joy. What I hadn’t realised was that Michael James Kirkland packed some pedigree in his punch. He had been lead singer for Mike & the Censations and had existed as Bo Kirkland as part of a duo that some may recall. But more on that later. Born 1949 in Yazoo City, Mississippi, his early gospel roots secured his part in the local gospel act, the Seven Seals, along with his two brothers, Walter and Robert (the latter would prove to be pivotal to his future musical career). They later moved to Los Angeles around ‘56, following an inter-racial incident with one of his brothers. In Mike’s own words, they were lured by the prospect of racial harmony, “a promise that has not been kept”. His early influences were the well-turned out ‘supper club’ jazz singers of the day (Dinah, Nancy, Brook, Nat, etc) before finding inspiration in Sam Cooke. Mike’s soft mellifluous tones are a clear and respectful nod to Sam’s exquisite style.

Mike’s first foray in a recording studio was a result of a wager by his brother Robert. While enduring the praises of Motown by a group of friends, he said he could cut a song every bit as good by Christmas. This was the August, but sure enough, as Santa stepped off his sleigh in the winter of ‘65, Mike & the Censations had recorded “Victim of circumstance” (a telling title) released on Robert’s Bryan label. A sombre, creative, almost doo-wop number, it made the top 50 of the R&B Charts.  The similarly slanted, yet more beautiful “There is nothing I can do about it” scored even higher whereupon they signed a brief deal with MCA records. Other significant cuts I’d urge you seek out are “Gonna try and get you back” and “The straw (that broke the camel’s back)”.

Pricked by the more politically conscious early seventies, Mike started to mix his tender romanticism with social commentary. The result was the adorable “Together” ballad A-side and “The prophet” message B-side single, again released on Bryan in 1971. It’s natural progression, the glorious “Hang on in there” LP followed in 1972.  Then came Bryan Records catalogue no. 9007 - “Doin’ It Right” was released in 1973. The recipe is pretty much the same as, if rawer than, its predecessor, with a similar line-up of musicians, and most tracks written by Mike. Mike has noted that there is a distinction between the way the two albums were produced, mirroring the two approaches to be found back in the day as he saw it. “Hang on” fell into the “refined, jazzy, well-produced” category, whereas “Doin’” adopted a “more earthy , natural sound” with both Mike and Robert wanting a more ‘live’ atmosphere.

Kicking off with the busy, streetfunk of “Got to do it right”, and its countering girl chorus - this opener is pure bliss. Then it’s a couple of covers (both apparently popular with his live act) - “Its too late” is given a slight boost in beat, but still a great revision. “O me O my” is very good as well, exposing the fragility in his voice appropriately, except for the fact that I’m soo smitten by Aretha’s version (and not forgetting Lulu’s original). Then its back to a Mike original, the mellow “You put it on my mind”. The eight minute breakdown on the title track earns and burns every second, the histrionics conveying a desperation in its message - a man trying to save a failing relationship. Stupendous. “Love is all we need” is a nice inclusion with a Southern Soul feel maybe reflecting his roots. “Love Insurance” is pleasant shaker, although lacking enough punch and direction to really qualify as one of the singles to be released off the album.

Mike later changed his name to Bo Kirkland to avoid confusion with Michael Jackson who had just turned solo. And the first single release under his new moniker, “Grandfather Clock”, was met with critical praise (great lyrics by the way) and reached #80 R&B in 1975. This was the prelude to him joining forces with ex-Ikette Ruth Davis and the release of “You’re gonna get next to me” in 1976 - and the rest, as they say, is history. Wow ! Please take the opportunity to check out some of his illustrious musical career, but in the meantime, savour some of this adaptable gents slick style right here.

There is an excellent biography available here

Buy it from Dusty Groove or Ebay or Groove Collector.

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Bonus

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The Manhattans were one of those classic R&B vocal groups who manage to achieve incredible career longevity by adapting their style to fit changing times. Formed in the ’60s as a doo wop-influenced R&B quintet, the Manhattans reinvented themselves as sweet smooth soul balladeers during the ’70s. In doing so, they somehow overcame the death of lead singer George Smith, and with new frontman Gerald Alston became more popular than they’d ever been, landing an across-the-board number one hit in 1976 with “Kiss and Say Goodbye“. Influenced by :  The Moonglows, the Dells, the Flamingos, Sam Cooke and Johnnie Taylor, they also influenced groups like Boyz II Men.

The Manhattans recorded two LP’s for Deluxe, a subsidiary of Starday-King of Nashville, between their Carnival and Columbia recordings.
•    [With These Hands] (Deluxe, 1970, prod. Buddy Scott)  was George Smith’s last LP with the group, and includes such uncharacteristic material as “Georgia on My Mind” and “By the Time I Get to Phoenix”.
•    [A Million to One] (Deluxe, 1972, prod. Various)  was the first LP with Alston. “One Life to Live,” from this LP, was one of their best.

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

Tracks
A1 Can’t Take My Eyes Off You 3:35
A2 Loneliness 2:55
A3 By The Time I Get To Phoenix 3:05
A4 Straight From My Heart 2:46
A5 It’s Gonne Take A Lot To Bring Me Back 2:59
B1 If My Heart Could Speak 3:52
B2 With These Hands 4:05
B3 Georgia On My Mind 2:55
B4 Give Him Up 2:37
B5 People Get Ready 2:36

Life after Carnival Records finds the Manhattans recording for the Deluxe label, where they cut some charmers. George “Smitty” Smith had polished his God-given, captivating, crying tenor into an instrument that ranked with the greats. With These Hands is the closest the Manhattans came to recording an album of standards or pop material. The album’s ten songs consist of five standards and five cold-blooded originals. You can’t help but feel the aching pain in “It’s Gonna Take a Lot to Bring Me Back“, a minor R&B hit that had major potential; the slow weeper oozes soul. “Give Him Up” displays the quintet’s lovely uptempo harmony; the shuffler unfortunately got lost as a B-side. The tear jerking “If My Heart Could Speak” is a slow, tenderly sung ballad and one of their best. Winnie Lovett, Kenny Kelly, Ernest Bivens and Richard Taylor provides splendid backing to Smitty’s lead on “People Get Ready“, “Can’t Take My Eyes Off You“, “Georgia on My Mind,” “By the Time I Get to Phoenix” and the title track, all ably arranged by Chico O’Farrill. (Andrew Hamilton - AMG)

Five pairs of white gloves appear in the spotlite, accompanied an orchestra in a latin-soulful groove. Five voices in perfect harmony glide into “Can’t take my eyes of you“  and you’ve met the fantastic Manhattans. Smitty, Blue, Dip, Kenny and Richie - five groovy multi-talented  people.
Listen to their change of mood from “Georgia“, with that haunting harmonica and violin background to “Loneliness” which is a soulful as it wants to be. Compare to tender reading of “If my heart could speak” to the moving rendition of “With these hands“. Follow Blue Lovett as he moans his way to “Phoenix“.

Yes, these are the Manhattans as big as life and as full of excitement as the big town that is their namesake.

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Buy it from Ebay or CDandLP or MusicStack

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Bonus

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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 .

Download link

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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.

link

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Well, just to show that FMS can get a little contemporary on occasion, we have shifted to the cusp of the 90s with Mica Paris’s debut, ‘So Good’. Here in the UK, she is the undisputed Queen of BritSoul and one of the select few truly talented artists from here to break it big time.  Never quite achieving the iconic status she deserved at home, let alone internationally, she is, however, probably the most respected UK singer of her generation - a singer’s singer, if you will.  With those dulcet, husky vibrations - she is instantly recognisable - from her low seducing keys, to the full might of her soprano. So welcome to her debut that unleashed her wonder into the world.  This is a wonderful, timeless joy.

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

Tracks
A1 Like Dreamers Do (4:22)
A2 My One Temptation (4:34)
A3 Nothing Hits Your Heart Like Soul Music (4:25)
A4 Sway (Dance The Blues Away) (4:51)
A5 Don’t Give Me Up (3:39)
B1 Breathe Life Into Me (4:58)
B2 I’d Hate To Love You (4:48)
B3 Great Impersonation (3:42)
B4 Words Into Action (4:47)
B5 So Good (4:52)

Bonus

Where Is The Love (with Will Downing) (3:34)
I Wish I Never Met You (with Bobby Womack) (8:30)
Where are the children (4:31)

Review by Trakbuv

Brought up in Lewisham, London, it was her grandmother who encouraged her to sing in the local church albeit unwillingly. However, it got the euphoria of singing deeply ensconced in her lungs and Mica was instantly smitten. By 14, she was a session singer for Shakatak and by 16, had become part of the gospel quintet, ‘The Spirit Of Watts’. However, Mica had her sights beyond these religious confines, and having left home at 15 to pursue this dream, landed a decent job as backing singer for ‘Hollywood Beyond’. Together with the bassist for the group and ‘The Style Council’, Paul Powell, they began cutting some demos that essentially became the springboard for her recording career. The men in suits came flooding in, all with offers of an album deal – those demos must have been fire ! Mica wisely elected for Island Records and the writing/production partnership of Peter Vale and Miles Waters.

I recall hearing ‘My one temptation’ the first time – the advance single to the LP – the hype was massif for this 19 year old Londoner, but nothing could prepare me for the sheer joy of this track and the smokey soulfulness of this lady. My summer soundtrack of 1988. With the urgent follow-up, ‘Like dreamers do’, Mica consolidated her success with a slightly more pop-flavoured groove, featuring the much lauded Courtney Pine. This was a Brit collaboration made in heaven, featuring two up-and-coming talents that we could be proud of for all the right reasons. So what was the album going to unveil – surely these were the cream tracks of a debut set to capitalise on a rising star in the making ? Well, I was so amazed at the calibre of this LP that it still ranks as arguably the best of that year and one that, more importantly, stands repeated listenings and the test of time. My and Nikos’s favourite track is the extremely mature ‘Don’t give me up’, co-written with Paul Powell, and presumably on that diamond demotape : ‘I had set out to be a singer/singerwriter’, stated the teenage soulster. ‘However, I’m objective enough to realise that I still have a considerable way to way to go – we included ‘Don’t give me up’ unanimously’. How could they ever DARE to disagree ! And the inclusion of Will Downing was another inspiration : ‘I was in the Island studios and popped upstairs for something. I grabbed him (Will Downing) by the arm and dragged him to the studio all the time cajoling him to cut the track on the spot.’

The album wisely avoids too much of the topical gimmicks of Rock and Jack Swing that were infiltrating our music, with a clear good foot in the real stuff. Thus, the uptempo cuts still sound fresh and funky, even if steeped in synthesized syncopation – try and resist ‘Nothing hits your heart’ or ‘Great impersonation’. Another reason for its longevity is the predominance of mid to slow tempo grooves. I make special mention of the intensely beautiful ‘Words into action’ (also cut by Jermaine Jackson) – featuring another great BritSoul exponent of the time, Paul Johnson – who had been instrumental in introducing Mica to the guys at 4th & Broadway Records - and the similarly glorious ‘Sway’ – the perfect slowie as the club is closing and the ashtrays are being collected. The title track gives Mica a chance to get bluesy and demonstrate that she could compete with the likes of Ruby Turner, another awesome British talent of the time.

I have included the track that appears on the CD version of ‘So Good’, the duet with Will Downing. It’s unfortunate that less than a year earlier, Robert Brookins released a cover version of ‘Where is the love’ with Stephanie Mills, which was far superior in my humble opinion, and consequently an unwise choice by whoever concerned. I have also snuck two tracks that originally appeared as demo acetates on local radio. You cannot imagine my disappointment when neither appeared on the subsequent ‘Contradiction’ LP, a fact that was harder to grasp with the complete absence of better material on it. Both tracks, if I recall correctly, are the product of Patrick Moten, the songwriter/producer responsible for the phenomenal Anita Baker debut, ‘The Songstress’. If you liked that album, then wait until you hear these songs showcasing Mica Paris as equivalent to anyone out there, including the Songstress herself !

Please forgive me for blowing the muted horn for British Soul music, but we do have a lot of fine, fine talent that simply never see the light of day outside our shores (and then only the diehard fans), something that is a problem even today. Mica was one of those rare cases where the talent AND determination AND timing were all right to see her grow to the next level, although I still feel she is a sadly neglected soul phenomenon when I consider our American counterparts. Please give it up for one of my heroes and a stunning ambassador for our music regardless of global artificial boundaries.

Quotations are taken from of an article by Bob Kilbourn, Blues and Soul vol.517.

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To mark our first Anniversary, we pay tribute to the label that, probably above all others, was crucial in putting black music and black superstars on the world stage - forever.  So, the idea is to reproduce a recent survey of The 100 Greatest Tracks on Motown as voted by various artists and presented by Mojo Magazine on February 2009 issue, celebrating the 50th anniversary of Motown(see here).  Our intention is to provide a musical catalogue in batches of 20 every other day spread over the coming weeks, and working up to that all-important number 1.

There will be memories, there will cries of disbelief, there will be omissions from your knowledge base, there will be more cries of disbelief - but we sincerely hope this exercise will entertain, educate, anger and amuse you with some of the finest music ever to grace the human ear.

THE 100 GREATEST MOTOWN TRACKS:

Honouring Motown’s golden birthday celebrations in style, MOJO chronicles the Detroit hit factory’s remarkable history with a rundown of their 100 greatest tracks chosen by the likes of Iggy Pop, Mavis Staples, Mark E Smith, Kim Weston, MC5, Mary Wilson (The Supremes), Gnarls Barkley, The Clash, Martha Reeves, Paul Weller, Lamont Dozier, Brian & Eddie Holland, Smokey Robinson and many more, but above all Berry Gordy Jr.

Here is the whole Motown Story including, the Beginning, The Motown Sound, The Subsidiary Labels, The Artists, the List of Motown No. 1 singles in the United States and many more.

Mojo, also presented the Top ten Motown albums here and finally check Motown’s greatest clips here.

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Finally here’s the Top 20

01. Martha And The Vandellas - 1964 - Dancing In The Street
02. Marvin Gaye - 1971 - What’s Going On
03. Four Tops - 1966 - Reach Out I’ll Be There
04. The Temptations - 1972 - Papa Was A Rolling Stone
05. Stevie Wonder - 1972 -  Superstition
06.  Barrett Strong - 1959 -  Money (That’s What I Want)
07. The Miracles - 1965 - The Tracks Of My Tears
08. Marvin  Gaye - 1968 - I Heard It Through The Grapevine
09. Jimmy Ruffin - 1966 - What Becomes Of The Brokenhearted
10. The Supremes - 1965 - Stop! In The Name Of Love

11. Edwin Starr - 1970 - War
12. Brenda Holloway - 1964 - Every Little Bit Hurts
13. The Marvelettes - 1967 - The Hunter Gets Captured By The Game
14. The Supremes - 1966 - You Keep Me Hanging On
15. The Contours - 1962 - Do You Love Me
16. The Temptations - 1964 - My Girl
17. The Miracles - 1960 - Shop Around
18. The Temptations - 1966 - Ain’t Too Proud To Beg
19. Four Tops - 1967 - Bernadette
20. The Temptations - 1967 -  I Wish It Would Rain

Download link 1-20
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Here’s the 4th batch of tracks : 21 to 40

21. Smokey Robinson and The Miracles  - 1962 - You Really Got A Hold On Me
22. Marvin Gaye & Tammi Terrell - 1967 - Ain’t No Mountain High Enough
23. The Jackson 5 - 1969 -  I Want You Back
24. Stevie Wonder - 1973 - Living For The City
25. The Temptations - 1969 - I Can’t Get Next To You
26. Gladys Knight and The Pips - 1969 - Didn’t You Know You’d Have To Cry Sometime
27. The Supremes - 1967 -  You Can’t Hurry Love
28. The Four Tops - 1966 -  Standing In The Shadows Of Love
29. Marvin Gaye - 1971 - Inner City Blues (Make Me Wanna Holler)
30. Marvelettes - 1961 - Please Mr. Postman

31. Stevie Wonder - 1967 - I Was Made to Love Her
32. Marvin Gaye - 1973 -  Let’s Get It On
33. The Temptations - 1971 - Just My Imagination (Running Away With Me)
34. Eddie Holland - 1963 - Leaving Here
35. The Isley Brothers - 1966 - This Old Heart Of Mine (Is Weak For You)
36. Marvin Gaye and Kim Weston - 1966 - It Takes Two
37. Stevie Wonder - 1965 - Uptight (Everything’s Alright)
38. The Miracles - 1965 - Ooh Baby Baby
39. Martha And The Vandellas - 1963 - (Love Is Like A) Heat Wave
40. Marvin Gaye  - 1971 - Mercy Mercy Me (The Ecology)

Download link 21-40

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Here’s the 3nd batch of tracks : 41 to 60

41. Martha & The Vandellas  - 1963 - Come And Get These Memories
42. The Temptations - 1968 - Cloud Nine
43. The Four Tops - 1964 - Baby I Need Your Loving
44. Stevie Wonder - 1970 - Signed, Sealed, delivered, I’m yours
45. The Temptations - 1970 -  Ball of Confusion
46. Marvin Gaye - 1964 - Baby Don’t You Do It
47. The Four Tops - 1965 -  I Can’t Help My Self
48. Mary Wells - 1964 - My Guy
49. The Jackson 5 - 1970 -  ABC
50. Martha  & The Vandellas - 1965 - Nowhere To Run

51. Jr. Walker and The All Stars - 1966 - (I’m A) Road Runner
52. The Supremes - 1964 - Baby Love
53. The Miracles - 1965 -  (Come Round Here) I’m The One You Need
54. David Ruffin - 1969 - My Whole World Ended
55. The Temptations - 1964 - The Way You Do the Things You Do
56. Stevie Wonder - 1973 - Higher Ground
57. Smokie Robinson & The Miracles - 1967 - I Second That Emotion
58. Rick James - 1981 - Superfreak
59. The Miracles - 1965 - Going To A Go-Go
60. Diana Ross - 1973 - Touch Me In The Morning

Download link 41-60

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Here is the 2nd batch of tracks : 61 to 80

61. The Supremes - 1970 - Stoned Love
62.  Stevie Wonder - 1977 -  Sir Duke
63. Marvin Gaye - 1976 -  I Want You
64. Diana Ross - 1976 -  Love Hangover
65. Marvin Gaye - 1962 - Hitch Hike
66. David Ruffin - 1975 - Walk Away From Love
67. Smokey Robinson and The Miracles - 1967 -  Tears Of A Clown
68. The Marvelettes - 1964 - Too Many Fish In The Sea
69. The Jackson 5 - 1970 - 2-4-6-8
70. Stevie Wonder - 1970 -  You Are The Sunshine Of My Life

71. The Velvelettes -1964 - He Was Really Sayin’ Somethin’
72. The Temptations - 1972 - Take A Look Around
73. Marvin gaye - 1972 -  Trouble Man
74. Stevie Wonder - 1973 - Too High
75. Edwin Starr - 1969 - Twenty-Five Miles
76. The Undisputed Truth - 1971 - Smiling Faces Sometimes
77. Gladys Knight & The Pips - 1969 -  Friendship Train
78. The Spinners - 1970 - It’s A Shame
79. The Monitors -  1966 - Number One In Your Heart
80. Little Stevie Wonder - 1963 - Fingertips Pts. 1 & 2

Download link 61-80

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Enjoy, the 1st batch of tracks: 81 to 100.

81. The Velvelettes - 1964 -  Needle In A Haystack
82. Marvin Gaye - 1964 - How Sweet It Is (To Be Loved By You)
83. Mable John - 1961 - Actions Speak Louder Than Words
84. Marvin Gaye & Tammi Terrell - 1968 - I’ll Never Stop Loving You Baby
85. Chris Clark - 1967 - I Want To Go Back There Again
86. Jr. Walker & The All Stars - 1965 - Shotgun
87. Marv Johnson - 1959 - Come To Me
88. Franki Valli & The Four Seasons - 1972 - The Night
89. The Elgins - 1966 - Heaven Must Have Sent You
90. Marvin Gaye - 1969 - Gonna Give Her All The Love I’ve got

91.  Kim Weston - 1966 - Helpless
92. Eddie kendricks - 1973 - Keep On Truckin’ (part 1)
93. Diana Ross - 1980 -  Upside Down
94. Stevie Wonder - 1981 - Happy Birthday
95. R Dean Taylor - 1967 - There’s A Ghost In My House
96. Frank Wilson - 1965 - Do I Love You
97. Thelma Houston - 1976 -  Don’t Leave Me this way
98. Singin’ Sammy Ward - 1960 - who’s the fool
99. Lionel Richie - 1983 - All Night Long (All Night)
100. Rockwell & Michael Jackson - 1984 - Somebody’s Watching Me

Download link 81- 100

We encourage you to provide comments of what Motown means to you – your favourite artists, what you think of Berry Gordy, what songs are especially important to you, the artists that lost out, or whether the whole Motown machine is an over-hyped balloon.  And our favourite story will get an exclusive ride back in time to meet all the stars in their hey day courtesy of my Time Machine that should be ready in a fortnight.  Now where did I put that elastic band ?

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

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

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

Review by Trakbuv

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

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

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

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

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

Download link

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

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

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

Review by Trakbuv

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

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

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

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

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

Download link

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

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