Soul

Freddie Mack “Kung Fu Man” / “Ultra Funk” (1974)

James Brown and his Famous Flames “Try Me!” King Records  A collection of James Brown’s earliest R&B singles from 1959.

The GREAT Little Milton! “We’re Gonna Make It” Checker Records (1965)

“We may not have a cent to pay the rent
But we’re gonna make it, I know we will
We may have to eat beans every day
But we’re gonna make it, I know we will
And if a job is hard to find
And we have to stand in the welfare line
I’ve got your love and you know you got mine
So we’re gonna make it, I know we will”

“The Wild Sound of New Orleans.” The 1958 debut record of the legendary New Orleans R&B songwriter, producer and musician Allen Toussaint!

The hits that made it happen baby! with Curtis Mayfield, Al Green, Four Tops, Billy Paul, James Brown, The O’Jays, Barbara Mason and the host with the most afro, Don Cornelious.   This is one “bad” (as in “good”) comp - and it’s only $3.98!  That’s right soul brothers and soul sisters, only $3.98!  So don’t delay, order yours today! (On the “as seen on TV” label ADAM VII)

Sylvia “Pillow Talk” (London Records) “Pillow Talk” held the number one R&B spot for two weeks and made it to number three pop on Billboard’s charts in 1973. “You can’t find love on a one-way street…” Check out the sexy lyrics here! And check out her performance on Soul Train!! Here’s to you Mrs. Robinson!

Sylvia Robinson recorded in the early fifties with Hot Lips Page, then as “Little Sylvia” on the Savoy label, but it was with guitarist Mickey Baker as half of “Mickey and Sylvia” that she scored a number one R&B hit with “Love is Strange” in early 1957.

Ray Charles et les Raylettes.  Ray left Ahmet Ertegun’s R&B label in 1959 to join ABC-Paramount.   Some feel his work was never as raw and rockin’ again.   This nice French picture sleeve was contributed by Fred Siebert who, like Ahmet, has discriminating taste and continues to discover and promote new artists (now through sites such as Channel Frederator.com)

John Hammond produced this first lp by Aretha Franklin in 1961. Five years prior to her first landmark soul recordings for Atlantic, this first effort is jazz and pop standards, show tunes and blues. Reportedly, Aretha met Ray Bryant when John Hammond threw a party at the Village Vanguard in 1960 to introduce his newest find, a young singer from Detroit. The party went to the wee hours of the morning with Aretha and Ray performing together for the first time.

Sam Cooke on Keen Records with the Bumps Blackwell Orchestra. 1957.

The AFO Foundation

In New Orleans during the 1950’s and 1960’s there were many talented musicians who made a living playing and recording R&B and rock ën’ roll. They performed on hit records by Fats Domino, Little Richard, Ray Charles, Shirley & Lee and numerous others. However, it was their hearts desire to play jazz, modern jazz, bebop. Their stories of late night jazz jam sessions are legendary. The music of Charlie Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Thelonious Monk and others made a large impact on many post World War II New Orleans musicians. There are precious few recordings of this style in New Orleans.

Compendium, by the AFO Executives, is the best recorded example of the genre. AFO, for the uninitiated, is an anacronym for All For One; it is also the name of the record label founded by Harold Battiste and his “Executives” in 1961. The name “The A.F.O. Executives” did not just happen by pulling names from a hat or secret vote or some similar arbitrary method, but is an accurate description of them because they were, are in fact, the executives of AFO Records, Inc. Having been quite successful in the studio producing record pace setters like “I Know,” the five “executives” who happened to be musicians (or five musicians who happened to be executives) began to play club dates as a group. With Tammy Lynn-the most versatile vocalist in their stable-added to the group, the stage was set for the swinginest all around group to hit the band stand.

The Executives included Harold Battiste on piano and alto sax, John Boudreaux on drums, Melvin Lastie on cornet, Peter Badie on bass, and Alvin “Red” Tyler on tenor sax.  Compendium was recorded in 1963 at Cosimo’s Studio. The musicianship on this recording is exceptional and Tammy Lynn’s voice is the only known example of modern female jazz singing in the city from the 60’s that has survived. She sings, not skats, in a pure bop style. The group’s emphasis is on ensemble work instead of lengthy solos; they are tight while maintaining a loose swing. The horn arrangements and aesthetic expression make this record modern. The repertoire they chose to record reveals their Crescent City connection. There are original compositions by Melvin Lastie, Roy Montrell, Red Tyler, Harold Battiste and James Black. In addition they do very hip arrangements to tunes like Gershwin’s “The Man I Love,” Kern’s “Old Man River” and Williams’ “Mojo Hannah.”  For listeners who were not around during this neglected period of New Orleans music history, Compendium offers a small glimpse into what those late night jam sessions were all about. - Jerry Brock

By late 1961, the label found great success and acclaim following the gold record success of AFO vocalist Barbara George with her national pop hit, “I Know (You Don’t Love Me No More).” The single rose all the way to number 3 on the U.S. national “pop” charts. With this financial boost, the label was then able to finance later recording projects which included the works of such young artists as Mac Rebenack (better known today as Dr. John), Willie Tee, Eddie Bo, and Nookie Boy Oliver “Who Shot the La La” Morgan. In 1963, Harold Batiste was called to California to produce the Sonny and Cher show as musical director and the label became dormant.

This is Ray Charles’ debut LP for Atlantic Records.  Came out in 1957.  Was reissued in 1962 as “Hallelujah, I Love Her So”.

1. Ain’t That Love – 2:51 (Ray Charles)
2. Drown In My Own Tears – 3:21 (Henry Glover)
3. Come Back Baby – 3:06 (Ray Charles)
4. Sinner’s Prayer – 3:24 (Lloyd Glenn/Lowell Fulson)
5. Funny (But I Still Love You) – 3:15 (Ray Charles)
6. Losing Hand – 3:14 (Charles E. Calhoun)
7. A Fool for You – 3:03 (Ray Charles)
8. Hallelujah I Love Her So – 2:35 (Ray Charles)
9. Mess Around – 2:42 (A. Nugetre)
10. This Little Girl Of Mine – 2:33 (Ray Charles)
11. Mary Ann – 2:48 (Ray Charles)
12. Greenbacks – 2:52 (Renald Richard)
13. Don’t You Know – 2:57 (Ray Charles)
14. I Got a Woman – 2:54 (Ray Charles; Renald Richard)

Nickolas Ashford and Valerie Simpson wrote some of the biggest Motown hits of the 60’s and 70’s including “Ain’t No Mountain High Enough,” “California Soul,” “Ain’t Nothing Like the Real Thing,” “You’re All I Need to Get By” and “Reach Out and Touch Somebody’s Hand”.

The band is Change of Pace.  “Bring My Buddies Back” (1971) on Stone Lady Records.

A wonderful bit of harmony soul from the east coast — a record with exactly the kind of fragile emotion and personal depth you might guess from the cover! Change Of Pace are a group with a sound that’s a bit like some of their contemporaries on the scene — but they’ve also got a slightly different approach too — one that’s not just heartbreaking ballads and love songs, but which also has a somewhat righteous undercurrent. Social themes intertwine with more personal agendas in the tunes — making for some great lyrical interplay that comes off in a unique way. Backings are mostly gentle — save for a few slightly more upbeat numbers — and titles include “Bring My Buddies Back”, “Our Forefathers”, “When You Look Into The Mirror”, “Blood’s Much Thicker Than Water”, “Yuletide Love”, and “Hello Darling”.  - Dusty Groove

“Get On Down” by East Harlem Bus Stop. A mix of mid-seventies funk, salsa and disco. Latin star Pete Terrace contributed some rhythm and band scores. Nice cover illustration by C. Ellis. D&M Sounds label.

A tight little east coast combo — with a slick funky sound for the clubs, in the manner of early work by BT Express! The grooves are all tight and choppy — with guitar vamping and wah-wahing over the top of most of the beats, while instrumental lines are laid down by sax and trumpet. There’s some occasional strings that slide into the mix — but most of the instrumentation is by the band. Pete Terrace handled some of the rhythm arrangements — and on the best tracks, you can detect the slightest of Latin influences. Titles include “Let’s Get It On”, “Right On”, “Get On Down”, and a slick cover of “Watermelon Man”. Boss cover, too!  — Dusty Groove

“Turn Back the Hands of Time” (1970). I love Tyrone Davis (1938 - 2005) and of course this is one of the greatest soul songs of all time. Another great song on this record is “Something You Got”. This is on Dakar which was distributed by Cotillion records a division of Atlantic. Tyrone’s previous record was his other monster hit “Can I Change My Mind” This was arranged and produced by the great Willie Henderson. The cover photo is by Joel Brodsky. Tyrone was once Freddie King’s valet before being discovered in a Chicago nightclub.

Har-You Percussion Group on ORO Records (a subsidiary of ESP). Very rare pressing and the only LP by this Latin soul group led by master conga player Montego Joe as part of the the HARlem YOUth program of the 1960’s. Jackie McLean worked with the group at one point as well. A fantastic raw mix of funky bass, heavy drums, burning horn lines and soulful vocals. Considered one of the great Latin records of all-time.

Archie Bell and the Drells “Tighten Up” Atlantic Records.

Little Willie John FEVER on King Records.