Soul Mind & Body - I Took Your Love (To Be True)

Sure I haven’t logged on here in a great while.. but, can I tell ya something? lately I’ve been TRYING to get on here and punch out a paragraph.. or three.. or four (you know how I do) and then I make some changes or revisions and then all of a sudden I’ve saved a version that has NOTHING IN IT. Maybe that’s why everyone has stopped using blogs. Or this blogspot brand in particular. I don’t know. shit gets me mad upset, then I just go the fuck to sleep and try a month or two later. But this event has happened to me TWICE. Fucking twice. Fucking twice I’ve logged on and tried to commit to sharing something new and fun, and blogspot has shut me down. Honestly I don’t even know what happened. One time I avoided it.. somehow I navigated back to a previously unclosed window on firefox and was able to save the day by selecting all of the text. Really, its my own fault and to prevent any loss in the future I will be hammering out all of my usual nonsense in a simple text program OFFLINE to prevent any possible stupid shit.

ANN-EE-WAYSSSS.

Here is a fantastic spin from Soul Mind and Body. Still under the radar but going up in price. Its a bad ass little jam similar to a monster of a track I’m looking for by Jerry something.. those that know, know. And, the rest will have to learn. ya gon learn today. I gotta get mines first. But, Peep the chimes and crazy synth going very faintly in this track. Its a great one. Brilliant top spin for me at the moment. Very home spun funk, and sounds like top shelf boogie to me. You can even hear the singer step away from the mic at one point. Recorded who knows where.. maybe in someones basement. But, an excellent offering I give up as a welcome back present. 
Just trying to get back on track with y’all.

Enjoy.

Soul Mind & Body - I Took Your Love (To Be True)

People's Choice - Let Me Do My Thing

While it seems it's open season for HATERS on reissues, let me divulge a retort. And, at the same time also file a grievance against said hatred. For starters, news flash.. EVERYBODY, and I mean everybody wants originals if possible. duh! Even folks that are just starting out in collecting..they want the original release. They might have not yet paid all the dues that lifetime collectors have, but still they want the original article. But, let's look at how quintessential RE-ISSUES are. They have in fact numerous times throughout several genres, and decades of music paved the way for what we know now..and brought to light hoards of quality music to the top. So much music would be lost without reissues.. from 60's dutch garage punk, to countless poor condition and almost impossible rocksteady from Jamaica, it's stunning when you look at the scope of all that is out there BECAUSE of the reissue market. I personally take offense to people downplaying, hating, and dismissing reissues especially now that I myself am behind some of that action with Sound Boutique Records.

The most critical part of reissues (in my eyes) is that it creates a situation where the artist can regain some of the income surrounding the popularity of a record. After all it's THEIR music, and originals trading hands amongst collectors for anything from $25 to $200 still yields absolutely $0 to the artist. That equation does not sit right with me. So, even though royalties are pennies compared to what a true deep collector 7 inch might trade hands for, it's still better than nothing.
Not to mention reissues help folks discover music, and define peoples interests. Like they have done for me time after time.

Here's the situation way back when for me personally. I was a young mod kid, must of been about 14-15 years old. I was trying to find more soul that I liked, and all I had was what I found.. Jr. Walker, Chuck Berry, Mary Wells, and Mose Allison 45's here and there. There was an incredible mostly 45 store, legendary in fact... that was huge for me.. called BAYTOWN records in Albany..but that's another story. A very important story to share, but another time.
We were learning about mod style and mod music, that is... American R&B, blues and Soul as mod kids. I had some vintage stripped 4 button shirts and Hush Puppy shoes and often taking my pants to the tailor to get them pegged.

Cover art on all the volumes looked like original works of art,
all creating incredible scenes of Soul music scenarios.

We were also sorting out and finding the music we wanted to identify with. While I was fresh to the culture of digging, and green to the ways of all the music I would eventually discover... Compilations aka Reissues were key in the development of my tastes. When you look back now, over all the years of collections, compilations, and reissues, the amount of releases back then pales against whats come out since. With all the years gone by, and folks like PPU, Numero, Now and Again, Stones Throw, Ace/Big Beat, Luv N' Haight etc.. its mind blowing. Just an endless sea or cool stuff to explore.
Back during this adolescent time for me it was 4 main groups of comps that shaped things for me.. Bam Caruso lead the way into psych, Funky People lead the way into JB's funk, Charley opened the door to rare groove, and these soul comps SOULIN' were likely the first comps I ever bought. There's also the Ultimate Breaks and Beats, but that is also deserved of an entire other post. So, yeah, maybe 5 comps.. 5 reissue groups.
I took a chance on the first one, the first SOULIN' compilation... based on the incredible cover art, and obscure track listing on the back. Strangely enough I bought all of them at tower records of all places. Once I dropped that needle on the grooves I was sprung, the heavy and rough soul that I really quested for did exist. It was southern soul, it was northern soul, it was instrumentals and funky tracks. It was dance music at it's finest to me. At the time I had an inkling about Kent Soul record comps and the immense amount of Northern Soul on those releases, but this was more dear to me. The stuff on SOULIN' was funkier, grittier, tough, soulful, and so irresistibly danceable.
After hearing this first SOULIN' and instantly being hooked (and enlightened I might add) I rushed back the very next day to get the rest of the volumes they had. I bought all of them, which at the time was the remaining two.. volume 4 was to come a bit later.

Soulin' comps were put out by Moonshine Records
and features a woman takin a taste from a bottle. 

They were all so incredible. I've lived by the depths of what was on here.. brought tapes of all of them to parties and people cut loose and spun about on the dance floor. So. In my experience compilations and reissues are pinnacle in harvesting tastes.. developing the ever growing 'map' of music, and also equally important in developing a scene to surround the love of the music.
So, for folks who shun on 'reissues'... please.. go get a life. Without them, most of us wouldn't know shit. I've said this a million times and its been proven to me a million times over... no one person knows EVERYTHING. Comps and reissues of the past are all the doors that have been opened  by others before you. For those in the hip hop community that claim to know everything, you're only fooling yourself.. Ultimate Breaks and Beats taught you a TON. And, without them you probably wouldn't know HALF the shit you do. And, they also were some of the first reissues AND comps I knew about.  So, don't get it twisted, they too were COMPS.
So, onto sharing this excellent, and very common People's Choice 45.. just ONE of the many varied treats on the SOULIN' series.
Maybe I'll share more of them in the future too.. I'd really like to know who these folks were.. who put them together and how they came about. They must have been 1984 or 1985 when they came out? I'm not sure. Very early tho. Also would like to know more about these amazing covers.. the painted scenes of clubs and bars with musicians pouring out of the windows or patrons hanging around. Just incredible.


People's Choice - Let Me Do My Thing

Nightwind - Why Can't We

This post is LONG overdue. You see, we here at Sound Boutique had made this track the first release for our record label. While that diverted some attention and energy away from this blog it was a necessary journey for me. And, a completely enjoyable and fascinating voyage for all involved. My right hand man in all of this, Luke Holton, the creator of Nightwind, can attest to the joy it's been for us.
It started with me scoring this Nightwind original 45 from a French record dealer. I liked this b-side so much I had to have it. It wasn't the normal uptempo funk or boogie bangers that I was usually after. But, it signified a newer development in my tastes and a direction that myself and the entire Sweaterfunk crew were taking... a turn to more mellow tempos, slower burners to break up the party rockers. Also happened around the time we started turning to two step and mid tempo jams. All greatly influenced by Dam Funk coming to share his mid-tempo jams, and spawned from his original mid-tempo themed night.

Nightwind circa 1981

It wasn't until later, actually after having the 45 for some time that I realized there was a fantastic uptempo party rocking flip side to this great record. Once I realized that this was golden either side you played, I started to try to track down the artists. Spoke with Fred Walker on the phone, yes he's the sax man on the beginning of this song, and he told me how to find Luke. Spoke with Luke next and he was thrilled to hear someone was into the music had made years ago. Once he told me the tapes were still laying around somewhere it was quickly decided to make it happen and put this song to wax once again.

Nightwind circa 1979

I set a date for release and so glad I did. If I hadn't, this re-release might never have seen the light of day..you know, people get busy..life kinda takes over. Anyways, the date pushed everything along and made it happen. Also, Luke was once of the nicest guys you could do this kind of thing with..an exceptional gentleman, a real sweetheart and a creative genius. So, without his kind, loving approach, and stamp of approval this would have never happened.
Loads of amazing and exciting things have happened since we first put it back out in November of 2011. First, we sold out within less than a year (and keep in mind, almost NOBODY knew of this record). Second, Luke discovered a video the band made for a local public access channel in St. Louis. Third, more tapes were discovered with MORE amazing Nightwind material..things like 'Spaceman', and multi-tracks with stuff like 'Mr. Silky's Rap'... be sure to check out the videos down below.

Leading lady Janet Savage and Nightwind
performing on a local public access TV show 

After a surprise guest visit at Lipo for Sweaterfunk, an interview with our fam and numero uno homie Ken Maxx (K-Maxx) on KPOO and people playing this song from New york to Australia, from France to Japan, it's official Nightwind is loved universal! Luke has also told me he has taken back up his piano playing and now regularly plays solo piano at a local club. Fantastic. This has been good for all of us. Now, we're about to press up the 3rd run of the re-issue, finally press the long awaited 'Spaceman', and working on a TON of other material all found on 10 multi-track tapes. It's a frickin' dream.

Ken and Luke, the Night-Maxx connection.
Super big thanks to Ken and the legendary KPOO

The biggest thanks to Nightwind, Luke Holton, Fred Walker, Janet Savage and the music loving crowds at Sweaterfunk for loving this tune. These songs, and Nightwind in general championed Sound Boutique's existence as a record label, and now we're devoted to sharing more music via that channel.

Somewhat minor but important details about the release of these songs.
Absolute first pressing in 1982 is on Star City Records.
Second pressing on Sound Boutique is from 2011, has two styles one with center hole
punch, one without. Both are from same run in 2011. Pressing plant mistake that we went with just to see the differences.
Third pressing is a black and silver label from 2013.
Fourth pressing hopefully coming soon as the 2013 run is almost gone.

thee first pressing...and thee hardest to find.
1982

Sound Boutique's proudest moment and first
release from 2011. 

Same as first batch released in 2011, but quantity
was sent back to pressing plant to have center holes
removed like originally designed. turns out we liked both!

2nd Sound Boutique pressing. We decided to
redesign to contrast from 2011 version

This second run was released in 2013

You can still get a copy of this record by going here...
http://soundboutique.bigcartel.com And make sure to peep all the videos here..






For the sake of still selling our track and Luke actually getting his royalty we're NOT sharing the mp3. You can hear the whole tracks via these youtube posts. We hope you will support Nightwind and Sound Boutique Records by buying a copy of the vinyl. thank you.







Oh yeah, and this test pressing of the 2011 version...

release deadline was so close to the record release party,
we only had the test pressings available! They are now ridiculous RARE!

Ben - I Would Have To Be a Fool

This kinda ended up being a regular spin at Sweaterfunk. I don't know how it got into my crates but once it did, it was a staple. Rather nice record to have because it has the regular vocal version, and right after it the instrumental version. Even stranger that it's one sided 12 inch. We clearly needed another side from this guy. I don't know anything about Ben, but this record appears to be from the L.A. area. lol. Its just darn good quality indie-soul and this track is a classy boogie jam.
It somehow made it's way into Jon Blunck's crates as well, and played on the regular. With the two of us having it, that meant it was played a lot. I was just reminiscing about SF and how I haven't been able to make it in ages. Jon just recently assured me my membership was 'fo life' and after getting jumped in there's no escaping. I'm not going to push the subject any farther than that. After all, Jon is from Los Angeles, and dresses like a gang banger and I probably don't want to play around.. might end up in the bay with cement shoes on.

This track was just released on 'Under The Influence' number 3 compiled by the homie James Glass. Shit, I've known James for something like 20-25 years. We've gone from bugging out over Dorothy Ashby LP's to wigging out on Willie Wood and the Willie Wood Crew. He's been into disco much, MUCH, longer than I, but we've met in the middle somewhere called boogie. Good chap he is, and a deep digger with a lethal collection. Known for only holding stone cold mint copies of things, he also shows with this comp, his tastes are immaculate as well.

Enjoy this Ben track..


Ben - I Would Have To Be a Fool

Betty Padgett - Sugar Daddy

I owe a tremendous amount of praise and recognition to Andrew Morgan of PPU and Earcave. I've been buying records from his ebay account and his ebay store long before his label came about and long before his ear cave store...which if I remember correctly was originally called District Wax. He used to make monthly mixes to share with his customers. They used to be listed along side his auctions as actual 'for sale' items. It was a kind of genius idea, and I think he still is just that, genius.
He's helped me a tremendous amount with my collecting and my label and other endeavors. Now, I'm passing along the torch to others I can help.
One of his mixes, I think possibly one of the last few (as it seems he stopped them) had this incredible Betty Padgett song 'Sugar Daddy' and I bugged him about it quite a bit.

For a good while this did not show up. Then I jumped on the opportunity to nab an album of Betty's that has both versions of Sugar Daddy. I was at first, holding out for the 12 inch version which Andrew had hipped me to, but I couldn't bare to wait any longer and it never seemed to turn up.
So, after I got the album version, which fortunately has both versions of the song on it, I shared it with the Sweater Funk folks down in the basement of the Lipo Lounge. A year or two later it came out on Luv N' Haight records diguised in a sleeve very similar to that original 12 inch version. That kinda did me in, and my thinking then was it was going to elude me even more now that the 'world' would know about it.

Here's the bas ass Ultra release of Betty's Sugar Daddy

But, last year I finally got a copy of the Ultra 12 inch and its Beautiful. I realize now why it's a hard one to grab. It's a reoccurring problem with rare releases that the spelling can have you searching for an un-obtainable piece. A simple typo with an artists name and you'll NEVER find it. This was the case with Betty Padget, or Betty Padgett.

Here's the well cloned Luv N' Haight version

Betty's a small woman, but a power house singer. She's from New Jersey but somehow ended up in Miami and recorded some tunes with none other than Milton Wright. Betty has this incredible side of deep, deep Miami groove to show for her efforts, she even remembers this song being used in radio and tv commercials due to local popularity. She's remained in the Miami area over the last 30 years and performed with the McCrae's (George and Gwen) as well as Jimmy Bo Horne, Latimore and Little Beaver.

If you can't get the 12 inch, THIS is the album to get.
It's on the ALWA label

Betty is still alive and rocking.. has recent CD's and 'Sugar Daddy' is available now thru Luv N' Haight and via mp3 download.
Hats off to you Betty, I'm glad to finally have your 12 inch and will rock and share it where ever I play.

And, here's yet another issue of the 12 inch which I have never seen on the Space label.

Betty Padgett - Sugar Daddy

The Black On White Affair - Bold Soul Sister, Bold Soul Brother

Welp, I just spend the last 45 minutes hammering out a lengthy post here and good ole blogger didn't save and froze up. So, as I'm writing this 'second' version I don't know what you're gonna get. I'll try an replicate what I already said..but, coming into this over a year after having had a regular routine of posting here, I've forgotten that its best to work offline and post final product to avoid losing a great deal of time, effort and content.
Anyways.. I think I was saying.. This 45 had eluded me for quite some time. Surprisingly it never turned up for me, not even after several ventures up to the Seattle area where it hails. My Mom, rest in peace, was doing what she does..labor organizing to be specific..go mama! and I would visit her there and got to dig around Seattle. So, it's a marvel I had not put my hands to a copy yet.
Anyways, here it is FINALLY and I'm pleased. Two banging sides. Fudge dipped heavy funk from A to B side. Both sides are equal 'Monster Funk'. New category duly noted.

This song opens with some of the most lethal and crunchiest drums I've heard. This song also paves the way into 'Wheedle's Groove' a compilation of Seattle funk and soul. Wheedle's Groove was also the starting point for the Light In The Attic label and championing the West Coast funk and soul digging and collecting scene. I think once people learned there was a rich history and still so many nuggets to be found it kinda exploded.
The movie by the same name should be mentioned here as well, probably one of few if not the only documentary that focuses on the artists, the producers, the local history and the stories of discovery. It's amazing and if you haven't seen it, you really NEED to. I'm surprised I haven't mentioned it yet here at SB, but if I have then it most certainly deserve several rounds of praise and multiple mentions.

The Black On White Affair were an early incarnation of Robbie Hill's Family Affair, and the reason I mention it like that is I'd like to post a Robbie Hill song here as well. For those of you who know me, you may have heard about the theft of my records last year. One of the stolen 45's was my beloved Robbie Hill 'I Just Want To Be (Like Myself)' 45. Once I get that back into the collection, I will post it up here. But, definitely go see 'Wheedle's Groove' the movie and/or get this essential comp.

Both sides of this 45 are hard, mean dirty blues funk. From those completely devastating drums to that first brutal organ screech. Just devastating. Heavy deep funk at it's best. The flip instrumental is also a monster. Just so damn good. I've always liked and kinda grew up on the harder, meaner, ruffer, blues from the likes of Billy Boy Arnold and Taj Mahal.
Funny side story, I think a certain home-girl, good friend of mine Kitty, started a scooter club (or, girl gang ;)) of the same name, The Bold Soul Sisters. Maybe it was even BSS SC. Perhaps you might think she could have been referencing the Ike and Tina song of the same name, but inclusion on a early mix tape of hers, I'm pretty sure she was influenced by THIS song. They are of course COMPLETELY different. Both incredibly good, yet this one being a 100x's rarer and dare I say.. RAWER.
So the quest for this elusive slab of Seattle based funk is FINALLY over, and here for you to enjoy.

ALSO: worth mentioning is the 2007 issue of these same songs on the Sausage Records label...I think I will obtain one as well, and not have to bring out my original. And, much easier and cheaper for the rest of us. Special thanks to Nancy Soultastic for trading with me on this one. It will be cared for and loved.

The Black On White Affair - Bold Soul Sister, Bold Soul Brother

Jimmy Jones - Live And Let Live

I can't even comprehend that I haven't posted this one already..and I seriously hope thats not an oversight! You could look through the postings and BUST me for cheating! If I did already post it and this is a second 'pressing' pun intended..then I will make it up to you.. but, I'm hoping not.
I should have posted it a long time ago because its one of my all time favorite funk - anthem 45's.

It's got a really great message and although its not featuring any 'open' breaks its got that covered for the background a plenty. Those congas and the excellent keyboards make for a beautiful jam. I've always been partial to this formula of deep message, seeming that the singer truly cares in what he's preaching and the delicate touch of keys sprinkled throughout. It sounds the most like one of my fave Gil Scot Heron.

But, THIS is Jimmy Jones and he has some other interesting tunes as well. This is of course by all means my absolute favorite. This IS the same Jimmy Jones also called Jimmy 'Handyman' Jones, and who had a long career recordings sides for different labels, savoy, cub, and mgm. Nothing really took off for him and most people don't know of him, But he's LOVED by us in the deep soul community.
Sadly Jimmy passed away last year. Much like a LOT of heros in the funk and soul world.. some of those whom I didn't get around to covering and some that I did.. Jimmy Castor, Etta James.. the list seemed to go on forever.



Rest In Peace Jimmy Jones!
If you're up there reading this..WE LOVE YOU!


 Jimmy Jones - Live And Let Live

Marsha Hunt - (Oh No, Not) The Beast Day

Marsha Hunt went out with (maybe even was married to) a one T-Rex aka Marc Bolan. Welp, whooped tee doo. Maybe that's slightly trivial, but it is nice to know that when listening to T-rex and you hear her excellent voice all-over-the-place.

She was incredibly beautiful and she modeled all over the place as well. Yes, she's the one you see in gorgeous afros with those 60's twiggy like looks and poses. She also had quite an interesting musical career that played with psych, rock, pop and soul and even disco in the tail end. Mostly covers, and some excellent..even a John's Children cover.. 'Desdemona' and 'Walk On Guilded Splinters' she was aptly in the right pocket.

This is one of my favorite break heavy lady funk tunes. And, I think an original tune..maybe penned for her? it's excellent though. Enjoy!

Marsha Hunt - (Oh No, Not) The Beast Day

George and Gwen McCrae - The Rub

This tune brings back a lot of memories for me. Back sometime ago one of the DJ nights I did was called Sunday School. It wasn't 'school' in the sense that we were trying to 'school' folks, or that we were wearing out any terms like 'don't sleep' or crate diggin phrase-ology like that. But, more that we were on the tip of being devoted in the sense that it was like a religion to us. That we 'wanted' to learn. I gathered some of my favorite DJ's at the time, picked out some bands and did a variety of things musically and genre wise with the night. This was between our famed night at the Ivy under the same name as this blog, and the ultimate demise of said such club. It was the last ride. In fact we started the Sunday School sessions knowing that the club was going to close. I remember we had new wave bands with hip hop bands, and rock groups with salsa funk bands all with DJ's playing reggae, rare groove, disco and boogie. You can see now why it was called Sunday School. We were out to learn whatever could by throwing it all in the mix. And, again it was an extension of the similarly themed Sound Boutique night. One of the cats at Sunday school turned me Onto this track. Such a great tune. One of my favorite local hip hop acts The Coup sampled this tune. It's interesting all the things going on with the Occupy movement, and proud to say Oakland seems to continually be a championing area for OWS. Boots Reilly of The Coup is majorly active within Occupy Oakland and I'm hearing a lot about hip hops involvement in OWS. It's good to hear and I'm glad to see the popularity of conscious rap making a possible larger scale comeback. This is taking into perspective that the 'concious' part or rap has all but disappeared. It's definitely time for hip hop to make a come back. And, I welcome it with open arms. On the slight condition it be good again. :) I hope it IS on the return. Or perhaps that's too ambitious, maybe we should call it a final stand. If it is indeed the case, I may just listen to it again.

What I'm hearing in the new stuff I do like. And, I'm hearing a lot. We just bought a used car late last year and haven't modified the stereo set up, so we're stuck with only radio. That's both good and bad. Good because there's stations like KPFA And UC Berkeley's KALX here. But, bad cause I'm a guy who will constantly update the iPod with the hot songs of the week (all the shit I'm fiendy for, but haven't acquired yet) and I can't bump them in the car. Oh well. But, again this has been good. Because the news on KPFA is excellent. And, updates of OO and OWS are both exciting and depressing depending on any given day, but essential nonetheless.

So, here at Sound Boutique we present another sampled track, but moreover an essential rare groove and underplayed funk track from two of my favorite CAT label recording artists. Always happy to expose originals as they make a huge pile of stock here at the Sound Boutique. Our deadstock originals NWT - New with the tags on.

George and Gwen McCrae - The Rub

Ray Barretto - Ritmo Sabroso

I don't cover enough Salsa and Latin Boogaloo on this site. At least not as much as I would really like. I wish this blog could be a full time job, but it doesn't pay the bills. Also, writing is a funny thing, if you're not feeling it, then it can be hard to put it to paper. So getting into the spirit of sharing music for me..EASY, getting around to writing a post.. a little more WORK sometimes.

So, in my efforts to post some more 'Latin' I'm offering this fine Ray Barretto tune. It's the flip side of 'El Watusi' which was pinnacle for me and my paths into 'Latin Soul' back in the day of all the Charley 'Caliente' reissues that I got into. It's interesting to me that was so long ago now, and the young cats I see into 'Latin' rare groove are so much more evolved and deeper than me. The game, just like with everything else it seems, has advance and evolved. And, it was a young cat Cameron Thompson who brought my attention to this flip side. He's a new seller at the record shop and has brought in a ton of tasty Latin, Cumbia, Salsa and treats from all over the globe.

It's crazy to me to think these records (We Got Latin Soul Vol 1-3) were back in 1987-88. I was way into this sound back when they first came out. In fact originally all I had was the compilations. It was a bit later that I started to surface the originals. And, got turned on many others through my friend and record dealer Peter (Pete da Greek), that story will flower out of me at some point here. Because Pete had amazing stories and pictures of New York Salsa scene during that time period. Even crazier for me to see the SPEED label stuff come out as re-issues. Man, those LP's were like holy grails..I suppose they still are. But, enough of my walk down memory lane.

I got to meet the great Ray Barretto and see him perform at Yoshi's in Oakland back in the late 80's or early 90's. He was another of those artist who while signing my copy of one of his records gave me that completely puzzled look as if I was from another planet. This was another example of me bringing some ancient relic of album art to his attention. Something that, back then wasn't as much yet a common occurrence. I forget which LP cover it was, and right now I wish I knew, or rather knew where it was. Back when Yoshi's was on Claremont Ave., it was really easy to meet and hang with the artists in the lounge upstairs. It's funny I'm actually on my way to the new Yoshi's in Jack London Square this evening, but we'll talk about that later.
Enjoy this nice, short and beautiful salsa from one of the true masters.

Ray Barretto - Ritmo Sabroso

Funkadelic - Better By The Pound

Most funkateers know this album in and out. If you don't know it, you should probably drop whatever it is that you're doing and go get this. Even if that means you stop reading this blog right now. This is an album I got recently to have in stock at the Vamp record shop. As a kid at my neighborhood record store this was a major turning point and fathoms deep rabbit hole of an album to be exposed to. I must have been 17 or 18 years old. Working at the record shop has brought back alot of the community and relationship back to sharing, exposing and learning about music for me. This record in particular I think should be a staple for our shop and is a milestone for anyone curious about funk. You could easily contend that many other Funkadelic LP's are worthy of the same noteriety, also being incredibly versatile and ingenious pieces of higher funk 'art', yet even the die hard Funkadelic fans would agree this LP opens up a serious can of whoop ass unlike many others. It's more polished than it's predecessors, and seems to flaunt more studio trickery than previous LP's. And, gracefully pushes boundaries, something they always enjoyably do, but stretch new webs with stuff like 'Mama be my beach' and what could easily be the FCC's worst nightmare with 'Shit God damn get off your ass and jam''.

I'm not even touching on the incredible musicianship on these albums. These cats were the top of the creme of the crop of the funk world. All wickedly talented and sharp with their instruments, and constantly oozing with creativity. But, it's that slick, and crafty ingenuity that is woven throughout all these records that sets them a brand apart. Still does. Honestly I could go on and on about this album. Or, any album by Funkadelic or Parliament for that matter. This camp of funkateers never ceases to amaze me. And, when the 'themes' and 'jokes' and 'language' they create repeat, compliment and paint a broader larger picture they give way to a deeper experience for listening.Their overall body of work is stunning.

But, there's something even deeper that comes from any entry point into the world of the Parliament/Funkadelic thang. Meaning more or less that there is no wrong album to start with, they are ALL amazing. They are incredibly ingenious and individualistic musicians that have left a legacy that hasn't even been close to being even remotely touched. This is why it is such a treasure to share this group, especially when it's held up to the standards of what is today called 'music'.....nothing comes close to our forefathers know as Funkadelic. Now hopefully you can tell your kids what's up when they ask you.. 'Mommy, what's a Funkadelic?'

Funkadelic - Better By The Pound

Madeline Bell - That's What Friends Are For

Copped this the other day and was surprised I had never had an original of it before. I'd had the Glucklich comped version and of course nabbed the Jazzman re-issue, but somehow never picked up this LP. It reminds me of the broader kind of 'world' inspired rare groove stuff I used to play, and in fact I'm retreading over some more territory in the Brazilian area lately. This jam is light and fluffy and reminiscent of carnival. Madeline holds it all down with a beautiful sophistication and exquisite class. The rhythms and melodies are Latin, Brazilian, Cuban and African. If it's a 'world' sounding groove, then fine. But, it is indeed a groove of 'world class' brilliance.

Madeline is originally from Newark, New Jersey. Like many soul singers she started in the church. She went on to great prominence in gospel with The Glovertones and Alex Bradford Singers. She was a center piece in the notorious rock/pop group Blue Mink. Blue Mink was an incredible diverse group musically with a racially mixed front force of two singers that might have been inspired by groups like Chicago.



Her solo LP's are highly sought after, and of the snippets I've heard, the early ones are particularly amazing. Although, I still haven't tracked them down yet either. She had the chance to record with the esteemed Wadsworth and Mansfield team. She churned out some monster soul tunes and a few northern floor burners. Just leaves more room for us to spotlight her career for future posts. What an incredible voice! SIDENOTE: I hope you'll enjoy our new 'old magazine' style layout...peep the club picture in this above YouTube clip..you'll also see the ad from an old Blues and Soul Magazine for 'The Cats Whiskers' club.





She's still active today and performing. She made most of her moves in Europe and can't be denied her place in soul history. Even Dusty Springfield sang backing vocals for HER, and became president of her fan club. Word. Madeline Bell part uno. More to come.



Madeline Bell - That's What Friends Are For

Apostles - Feeling Happy

Heading to a record sale here in a few hours. Looking at the list of sellers, it's gonna be a great show. Lots of breaks, funk and music from all over. Everything from African to Latin to Indian funk should be well represented.
For address and additional info check here....
Huge Record Sale
http://sfbay.craigslist.org/eby/gms/2326823926.html
As record sales seem to get better and better, it's tending to be as a result of being in younger hands. The staunchy old 'oldies' collectors have less and less of what we're really looking for.  The younger cats are taking over. More and more record hustlers are selling quantity and setting up shop on ebay and discogs with quality. It's refreshing to see this many sellers at a swap and even more exciting that it's here in Oakland. It's from 12-4pm and even better that folks don't have to get up at the crack of dawn. I'm still wishing for a PM or nite swap like our folks up north with the Nite-Owl record swap in Portland. But, for now this will do. You'll want to make this if you're in the area.

Onto this heavy piece of Nigerian funk from these fine men known as The Apostles. From the 197? LP entitled 'Wisdom' is this funky tune 'Feeling Happy' on EMI Nigeria. These cats have about five other albums, but I know little about their overall history. Juan played this record for me after his first trip to Africa, and I'm just glad he's returned to the motherland and tracked this one down for me. If only now he'd find the ROB record for me!

Most of these records have gobs of dust and dirt. Condition with these records is always difficult. They usually have years of road dirt and hot sun warpage. It's hard to find anything in mint condition. But, the incredible strength of these artist usually shines through, and sometimes the funk out weighs interference. I often like my funk with a bit of bacon sizzling away in the background anyway.


Apostles - Feeling Happy

Ann Alford - Got To Get Me A Job

This is Ann's sole record release but it is a slammin' deep funk 45 heater. It may be her only record, but it's well loved and enjoyed. Originally from Shreveport, Louisiana this sister cut these two sides and vanished as far as we know. The flip is incredible as well, a true ballad in a tear stained James Brown fashion. I think Hy Sign was a subsidiary of the Murco label.


I noticed the other day that BGP has just released this same song this year coupled with Alvin Cash's 'Twine Time' on a new 45. Interesting to see that BGP and ACE are still keeping up with the Joneses. Perhaps they are attempting to cash in on the endless times that this tune has been comped, booted and re-issued. Nice to know you can get this great tune for a cheap price. They've started out well for 2011 and I'm curious to see what's next. In that respect I probably paid way too much for it, but you get to reap the benefits again. Here I present my rip of this great sister funk 45 for you to enjoy.

Ann Alford - Got To Get Me A Job

Edward Fisher - I Feel Good

Speaking of slow 'burners', this one comes to us from Edward Fisher who is also known as Eddie Fisher. My record collecting first lead me to Eddie and his LP 'Eddie Fisher And The Next One Hundred Years'. With songs like 'East St. Louis Blues' and 'Jeremiah Pucket' I had found my crown prince of funky groove. It was exactly what I was looking for at that time. Heavy drum tracks, incredible arrangements and masterful musicianship. Not to mention it was a sample filled and a head nodders dream. It's an incredible jazz funk LP rooted in some heavy band of gypsies trip. So, that was the beginning and a introductory chapter into a great relatively unknown guitarists amazing career. I like all of Fisher's LP's and his work spreads throughout a huge time span of different sounds and influences. This post is from his 'Promise' LP made in 1985. Just so happens that the 'hundred years' LP was the first I heard by Mr. Eddie Fisher.

There were others before it, and it was a few years later that I picked up the rest of his LP's. He started out as The Eddie Fisher Quintet with the 'Third Cup' album. It was a debut album for Chess records and demonstrated his prowess on the guitar and is a formidable acid jazz and soul jazz work. It set the pace for most of his early work. Very funk and groove based but, always with a tinge of psychedelia and general spaced out feel. Always reaching out for more and something deeper it seemed. It's no wonder he was on the Chess label as he had some previous history being the bandleader for Albert King.

Next up was the 'Hundred Years' LP and only further expanded his acid laced funk sound. This record is mental. I think he must have inspired a great deal of jazz funkers at that time. He certainly did for me and others when we re-discovered it. It seems that Chess records was being quite contemporary at that time pushing more funky and commercial records with the Cadet subsidiary. For Stang records he then gave us 'Hot Lunch' which expanded things with more commercial appeal. Use of synthesisers, and branching out from the usual instrumental jazz funk with the use of vocals. Like the very Larry Graham and Sly Stone inspired 'Gimme, Lend Me, Loan Me' and the Marvin Gaye influenced 'It's That Music', it only further illustrated that Eddie was ever evolving.

Later on, possibly in the 80's at some point he started his own label Nentu with his wife. There he cut a p-funk scented boogie masterjam 'Gigalo'
on 12 inch and this LP called 'The Promise'. This album is consistently good throughout. As is all of his LP's. But, for me at the moment, my stand out tracks are this one and the very George Duke sounding 'pluck' adapted song called 'The Jam'. When they surface in my collection again, I will post other songs from these other earlier LP's, but for now this came in the mail the other day and completes the Edward aka 'Eddie' Fisher chapter in my collection. This only means more for YOU to enjoy. Cheers.


Edward Fisher - I Feel Good

Gregg Jolly - Love Is

A pretty simple formula here for this disco bluesy number. Gregg Jolly, on the other hand is anything but simple. And, anything but known, discovered or appreciated. His few and extremely rare releases are hard to come by. All of them except for this one have still evaded me. This is one of his most available recordings. I often wonder what other recordings he was a part of that didn't feature his name. His vocal style boasts that he can hang with the likes of the great Al Green. He's been showcased and endorsed by the rare groove king Tommy Stewart on another elusive 12 inch and this release saw assistance from the great Bobby Robinson and his hip hop founding label Enjoy records. It's no wonder that this had such a disco feel, and the open drum break in the middle is ripe for classic Ultimate Breaks And Beats style editing.

Half way into the song Gregg really dips into his vocal soloing and almost goes Al Green ballistic. Even the title 'Love Is' feels as though it's an homage. But, even though he had less than a handful of records, he etched out his own brand of disco and funk. The drums are brutal and relentless throughout making me scratch my head thinking is that a drum machine or did they loop it? Clearly this drummer earned his keep in the studio. This oddly sounds more like 1976 than it's release date of 1981, but further proof that the blues was alive and well in the early 80's. If you are Gregg Jolly, know his whereabouts, or had anything to do with his recordings please let us know. We're madly obsessed with G-J and will do just about anything to track him or his records down.

It's just another slice of funkiness I wanted to share, and as I track down his other records I will post them here. If and when I can find them, as they are stupid rare.

Gregg Jolly - Love Is

Professor And The Efficiency Experts - I Gotta Stand For Something

Long story on this one. I first heard about this song way, way back from my friend Seth Roehl who played it for me over the phone. I hassled him about this 'white label' deep funk test pressing, trying to get him to trade it to me throughout the years. At that time most folks knew this as an obscure and rare funk test pressing. Some, like ourselves, knew nothing about it other than it sounded like the heaviest shit we had ever heard. A few years later, I found out that this was in fact a white label re-press done by none other than Skate Master Tate.

Still at that time, it was coveted among funk collectors and still remained a high dollar record, even as a bootleg. I was lucky enough to find the original yellow label Stanson 45 in a shop in L.A. for a measly 5 bucks. I was so overjoyed to separate it from it's sleeve with that certain look and feel that it hadn't been touched before. Finally a conquest for this 45 had ended with a stock unplayed copy.

So, jump down the time line now 10-15 years later when my friends Jon Erickson and Bart Davenport gave me a call and asked if I'd meet them at Wally Sound Recording Studios. They were in the middle of recording a few songs for an upcoming Greyboy album. They were using old equipment and getting a vintage sound, trying to replicate a few original songs that DJ Greyboy had sent them. Jon and Bart insisted I sing with them on one of the tracks and they said I would love the song. As soon as I heard the whistle and crowd noises from the beginning of the record I knew exactly what it was and knew all of the lyrics by heart. I gave it my best shot and still to this day you can hear faintly in the background backings vocals from yours truly. Now, of course Sharon Jones took hold of this track with the lead vocals, but this was an experience of a lifetime for me. Just my ultra tiny little claim to fame, and like my friend Xan said, I was 'high on lead singing' even if the end result had our vocals father away in the mix. Still, incredible to be a part of one of my all time favorite funk 45's and see it evolve into current times and be featured on this LP.  Me and Sharon Jones baby!

This was also issued on 'Funk Spectrum II' compiled by Kenny Dope and Keb Darge. It's listed on that compilation as simply 'Undiscovered Break' with no other information. Oddly my friend Seth did finally give up his copy of this record almost 20 years later, so now I have both the white label bootleg and original now. Go figure.

This is a beast of a funk track. Probably one of my most favorite deep funk 45's. The constant and underlying fuzz and feedback coated guitar really stings like a bee. It's a guitar sound that's straight out of some seedy biker exploitation flick. The drums slap and knock along like a dirty fight that rolls and crashes from the bar out into the street. Check out the wicked fills and rolls..this drummer was serious business. All together wrapped up with speckles of horns and a ever growing party in the studio. Sounds like numerous folks are getting down on the lead vocals. Like a true 'pack' of funkateers. This track is the perfect example of nasty garage funk. Just how we like it.


Professor And The Efficiency Experts - I Gotta Stand For Something

Bill Moss And The Celestials - Keep On Using Me Jesus

 

Good morning and happy Sunday to ya. In the tradition of our Sunday posts we're gonna ride the soul train to gospel town again. So, let's call it 'Sanctified Sunday' and get down to business.

Bill Moss is an artist that bounced back and forth from commercial efforts to gospel recordings throughout his career. Some of his early 45's were some of my first coveted rare groove records. He was founder of the Capsoul label which provided me with many of my favorites. 'Sock It To 'Em Soul Brother', 'Number One', and my personal favorite from that label 'Hot Grits' by Elijah & The Ebonites are heavy percussive funk treats.

Bill was married to Essie Moss and they started The Celestials, very much in the direction of the Staple Singers. This song, 'Keep On Using Me Jesus' is very much in a Staples vein. Bill is also related to one of the most well known soul/gospel groups The Clark Sisters. Mr. Moss died at the age of 76 from emphysema but before he passed he was inducted in the Gospel Music Hall Of Fame in 2004.


Cheers, Bill we love you here at Soundboutique and your funky break embedded song is perfect for this day. Hoping I'm ushering out this cold or flu or whatever the heck it is, and this song has got me singing my own version...Keep On Healing Me Jesus!

Bill Moss And The Celestials - Keep On Using Me Jesus

Baba Yaga - Too Cool To Be True

Killer funk jam by this 70's era all women's band. Sounds a bit Afro influenced with these heavy horns piercing through the mix. This one was fit for the club both now, and then according to the lyrics. Swarming to the disco with those uniform denim blues. Look out. These ladies are fired up. Lead by a heavy break in the front, it's charged up with the same shit that's still going on these days..growling stomachs, high gas prices, and people looking for work. This release was distributed by local woman's label Olivia and you can get comprehensive deets and pics here. Probably the tastiest women's funk club tune I can think of and reminds me of the 'all-girl' live performances I saw today.

Yes, I'm still sick from last week and feeling like shit, but I had to make the trek outside in the constant rain to see my daughter perform at the G.R.A.S.P. (Girls Rock After School Program) in downtown Oakland. Sick as I was, I was busy sleeping all day and if she hadn't called to remind me, I may have slept right through it. Daddies, stay on ya toes! It was great (and a great program) to see my daughter rock the drums in her own style and I'm glad I took her to see the Girl's Rock Movie 2 to 3 years ago. I saw a total of 15 groups play one song each, ages ranging from 6 to 16 years young. I was looking at the attendance and over all high head count and thinking there is definite potential for my evolving all ages Oak-a-go-go TV show idea, developed from Chicago's own cable access show Chic-a-go-go. Check out what they do.

While in downtown Oakland, I caught a facebook mention of a record sale. Of course I had to check that out. Sick or not, I was already out there in the rain. I'm in full support of Oakland record shows, and even better when they are in the afternoon or at night. Great little swap at the Spice Monkey Loft organized by Geraldine of feelmygrooves.com and the new east bay multi-genre soul night called 'The Clearing' at the Kingsman's Ivy Room. It's held every third Friday, but April's date is scheduled for the 22nd. Heads up. Been meaning to re-stomp the Ivy Room and see the major re-vamping they've done since our crew was there so many years ago. Props to all those folks at the swap for toughing it out in the rain. Looks as though the Spice Monkey has some tasty food as well. Great idea..the wifey can grab a bite to eat, and I can chip away at our life savings on my compulsion with records.
So, all in all, a nice little day. Even though I felt like absolute crap. I hope I didn't infect anyone along my way. If so, my sincere apologies! Now I'm nestled back in our crib, nice and warm, hopefully nursing this very flu like cold on it's way out the motha-fuckin' door!


Baba Yaga - Too Cool To Be True

Keith And Darrell - Kickin' It Around

I came across this 45 in a pile of records that had already been pillaged by a few serious local collectors and record dealers. Don't know why the hunters passed it up, but I'm glad. Perhaps it's really only a 25 cent 45. My interests in somewhat 'obtuse' sounding stuff and indie soul has for me, paid off yet again. Just goes to show there are still treasures even in the most covered territories.  You just have to be willing to hear something dope and new in something that's far from the norm. For me, that's always been an area that has been my strong point. Often you may have to face a little ridicule, but I've learned over the years that same ridicule is a sign of progress and genuinely shows you're headed in the right direction. Anyways, I was late in the morning to this spot and even though it had been well scoured, I still found a few treats. In fact, I think this is the same spot I picked up the 'Blue-eyed' soul record by the group Stratus. Not the one from Denver. The Stratus record had the notorious orange spray paint from Rasputin's, so I suppose it had been quadruple overlooked.
Anyways, back to Kieth And Darrell. These guys were in fact nephews of Smokey Robinson. They had somewhere around three or four releases including an attempt at boogie disco in 1983 with a tune called 'Work That Body' on a Motown twelve inch. Another 45 with the peculiar title of 'You're My Gardener' saw a similar release on a promo only 45. I wonder what that one sounds like. This tune for me fits best in a 'free soul' genre as it's kinda lazy, kinda cool, and a little bit hippie. It has that kinda yacht rock sunshine soul feel I'm always looking for.

It's easy to see why this flew under the radar, and one could suspect that Keith And Darrell were trying to gently elbow their way into the recording biz considering their bloodline. The fate of Keith Larnell Burston and Darrell Littlejohn was of limited push and belief in them by the record label and as a result they never fully broke out.


As far as I was concerned, from a digging perspective, this had ALL the right elements...produced by Smokey Robinson, from 1980, and was a promo only. It could be that this record never saw a full release and only came out as a promo. Some nice harmonies, an affectionate little premise, and some light and snappy drums. I was glad to pick it up, hope you enjoy it too.

Keith And Darrell - Kickin' It Around