A Funky Delight, you probably never heard of. You’ll find great horns, Bass and Jazzy Grooves on other tracks you will find soulful stuff too. Highly recommended!

Ultra rare French recording (little pressure on less 300 ex in LP). A very good and collectible soul funk lp … This is Rare grooves, deep Funk! So many good titles, a complete record. With the musical director Franck Abel and a special help from Pierre Jaubert (Lafayette Afro Rock Band).

A Groove Collector choice! A dangerous LP for DJs!

Tracks
A1 Straigt forward 2: 55
A2 In a garden of toys 7: 24
A3 In a strange Land 3: 50
A4 I am undecided 5: 03
B1 Train 3: 13
B2 it’s good to see your face again 6: 16
B3 are you Gonna stay while he 2: 16
B4 digging deep into your soul 2: 55
B5 Bright flowers 4: 22

The name Bobby Boyd Congress express to a collector or serious fan of 70s rare groove and you suddenly sees their face strange come to life, intensely lit with a mix of longing, frustration and resignation. Then, he or she will proceed to explain that this legendary record a Holy Grail of European groove is, of which the hazardous and dangerous quest the most manic diggers sends insane.
Indeed this funk/soul gem, dissatisfied with the meager 300 copy pressing in 1971, has a large number of other attributes that the value of the collector through the roof (up to 1500 euros) have sent: a hot and raw production included in Studio Davout; the talents of the excellent American musicians in exile in Paris, the participation of Frank Abel (vocals and organ) and Lafayette Hudson (composition and bass), which together without saxophonist Bobby Boyd, under the name ice and later the Lafayette Afro Rock Band would continue. These 2 legendary line-ups included and several cult albums released in France-break-heavy, and with extensive trance-like impros and scorching grooves. Energy and power of their sound is already blatant on this one, a jarring mix of funk, soul and rock and explosive instrumentation based on raw guitars, harmonious brass, wild organ and tireless drums. The vocals are just as extraordinary and final caress add to this outstanding record that finally the reissue is granted that it deserves.

One of the two albums ever cut by the Ebonys – a consistently large group from the 70s, as witnessed by their constant popularity in our shelves! The Quartet had a 3 man/one woman harmony sound that was very hip – often applied to fair themes elaborated in a heavy soul model, and who sounded just as great on the ballads as it has done on their midtempo dance floor numbers. This second album slightly less sublime than their first one, but it filled with loads of nice cuts, and has some large production and arrangements of Tony Camillo.

This is another great offer by Mr. Moo of original vinyl @ ripped at 320.

Tracks
A1. One thing on my mind 3.37
A2. A love for your own 5.04
A3. Neighborhood Gossip 3.44
A4. Mr me, Mrs. you 3.46
A5. If you need 3.41
B1. (I know) When the true love really passes by 3.36
B2. Sing about life 3.02
B3. Waiting for the last farewell 4.31
B4. Nobody but you 3.22
B5. Laugh 4.39

Another soul group of the 1970s whose commercial track record does not do justice to his music, the Ebonys made gripping, dramatic ballads that no soul fan undervalues. On the label of Philadelphia International during an era when they routinely cranked out transcendent, genre-smashing hits, this New Jersey vocal group began in 1968. Jenny Holmes, David Beasley, James Tuten and Clarence Vaughan formed the lineup, and Leon Huff discovered them. They scored their first hit with “you are the reason why” a number ten R&B single in 1971. Their greatest number, “it’s forever” appeared in 1973; It only reached number 14. That was their last hit; their other Philadelphia International singles were often nicely done, but commercial flops

The Ebonys second LP (the first was on Philadelphia International) is not the tops of the gamble & Huff production, but it doesn’t have the lows, namely “Sexy Ways” and “Hook Up and Get Down” either. Their only Buddah made hit “makin’ Love Ain’t No Fun” on number 83 charted in 1976 but this party for some unexplained reason. The label did, however, that song’s successor, “neighborhood Gossip” which created some noise but not include club chart. There is some heavy soul lamenting “If you are in need” and “Mr. Me, Mrs. You” producer organisations Tony Camillo did again with Creme D’Cocoa; Jennifer Holmes, who co-leads, did the same on the Creme D’Cocoa version, a group whose lineup included Holmes and three former Ambassadors (“I Really Love You”). The other Ebonys were David Beasley, James Tuten and Clarence Vaughn. Also included here is a torchy extradition of Average White Band “a love of your own.”

Brief encounter may not be as familiar to many of you. only two LPs, they released their debut in 1970 that the miracle of that era so beautifully articulated is released.  She remained quite high caliber material during that decade, but it was not until 1981 that they finally released their second LP. Please take time to listen this set, “We want to play”, a band who broke way far too quickly, but fortunately recently reformedon the backof renewed interest in their wonderful musical heritage.

Tracks
A1 Rocking 4: 05
A2 Since I met you girl 3: 47
A3 now I know I love you 4: 00
A4 only for love 3: 46
A5 Sweet tender loving 4: 16
B1 we want to play for you 4: 27
B2 to Open up your heart 3: 11
B3 together In love 5: 26
B4 would you my love 4: 29

Research and Review by Trakbuv

Some of you may recall the wonderful British WW2 romantic movie, “Brief Encounter” – the picturesque, quintessential tear-jerker that his way around a number of old-fashioned heartstrings knew.  I’m not sure if the band themselves named after certain classic black and white film, but their bittersweet sensitivities make it an effective.  Brief encounter a 9-strong, self-contained act that included were four brothers: Maurice Whittington (vocals), Gary Bernard Bailey (vocals, bass, guitar, keyboards), Montie Bailey (vocals, keyboards), Larry Bailey (sax, keyboards), Velmor Bailey (keyboards), Rufus Wilborn (drums, flute), Fredrick Alexander (drums, percussion), Charles Graham (trumpet), Michael Carter (guitar).  Originating in North Wilkesboro, North Carolina, they apparently been together from high school. Their first group incarnation was as sounds of soul that the brothers Bailey, together with friends included Maurice and Rufus.

Probably their first single, the rare groove delight ‘ man ‘ was released in 1970 on sound Plus Records, and in combination with ballad A-side ‘ total satisfaction ‘, this was really a glorious entry into the market of the soul.  Still under the careful guidance of John Richbourg, they took their first long player the same year. Released on the now legendary seventy seven Records, which went on to put the likes of Ann Sexton and Geater Davis for plastic, it was an exceptional collection of mainly melodious ballad and midtempo gemstones. In 1973, ‘ I’m so satisfied ‘ was released as a single, a sweet soul dreamer, followed by the ballad with a hypnotic beat, ‘ (not you) I love you ‘. , However, made no effect.

She then switched to the much more established Capitol Records label, where they tried their luck with the bouncy, catchy “what about love”. This was followed by ‘ get a good feeling ‘ in 1977, a track lifted from their debut LP some 7 years earlier. It was not until 1981 that brief encounter secured their sophomore LP, and the time difference is clear between the two sets. The opener “rockin’” is a typical disco stomper, sounding like a rejected track to these ears Kleeer. Much more satisfying is the melodious “since i met you Girl” that reminds me a bit of Switch with a touch of the Sun Records. “Now I Know I love You” is a melancholic minimalist song written by Gary B Bailey with him on the dominant acoustic guitar, so am I right in assuming that he can also on vocals? A surprise and a delight. The following two tracks have me scratching my head-they seem to have an unnamed female singer. They also happen to be among my favorite tracks with the sweet glow of rare groove beaming from the comments. “Just For Love” is a beautiful ballad in two steps with a warm flute that special spicy touch to add. And in “Sweet tender loving”, they have a midtempo beauty hung on some simple but devastating string and horn arrangements. “We Want To Play” has a characteristic groove synonymous with the early 1980s, a very nice chug-a-long that is a real grower. “Open up your heart” is another pleasant uptempo booty bopper, this time with a touch of Freeez and reminded me of The Live Band ‘ A chance for hope ‘ for some reason.  Have partied on their debut, the next number was what I was really curious. Takes full advantage of all the delicate tools of a master craftsman in the establishment of the refinement of the early 1970s with exquisite finesse “together In Love”. (A) all of his own class. I really like the nostalgic feeling of ‘ If you want My Love ‘ would be so much better if they have real horns-and probably the best vocal showcase for the band had used.

In 1983, the band split, their last known performance at the wedding of Gary Bailey in 1985. In 1988, compiled the label P-Vine in Japan an album titled “brief encounter with Sweet Soul music” that their singles output from the ‘ 70s, among other artists featured.  But unlike many of the artists defended in our pages here on FMS, the late rapturous applause for our heros is not unnoticed.  Brief encounter have since reformed have noticed the value of their albums for auction (their debut $ 2000 a distance erase). And on 3 September 2010, they released their first single in almost 3 decades. “Shake and Move”, entitled to 500 copies were auctioned to raise money for Haitian Earthquake Relief Fund.  The A-side is a re-recording of an unreleased track from (possibly) the “We want to play” sessions, while the b-side, “I want you so much”, is a new recording.  You see they perform both songs live here. It seems that unlike the film, brief encounter manage did for back together again and hopefully they will enjoy some of the salvation that their music has gifted us.

Killer work of one of the hippest leaders on the Chicago scene – the mighty mighty Willie Henderson, force behind some of the biggest soul tracks of the city and funky 45s! This album as a pile of lost funky nuggets of back to back – with lots and lots of bass-heavy grooving of the band, and numerous instrumental riffs on guitar and horns! Most songs are instrumentals, but often with some nice cried or spoken bits – and the whole thing is filled to the rafters with big breaks, beats and grooves!

Tracks
A1 soulful football 3: 47
A2 Oo Wee Baby, I Love You 3: 40
A3 can I change my mind 2: 47
A4 Funky Chicken (part 1) 2: 12
B1 Funky Chicken (part 2) 2: 00
B2 Sugar sugar 2: 37
B3 eliminated in a black thing 3: 10
B4 it Is something that you have 2: 46

Review by Soulmakossa

Born in Pensacola, Florida, but growing in Chicago, Willie Henderson is one of the most important arrangers soul music ‘s, producers and writers.
Started as the baritone saxman for Blues wizard Otis Rush, and gigging with such Windy City superstars Syl Johnson, Henderson arrived in Chicago’s branch of Brunswick Records in 1968 and he, along with producer Carl Davis, most was responsible for rejuvenation of that label fortunes, its sound kicking in decided more soulful territory.
While more of a ‘ behind the scenes ‘ persona-Henderson’s name can be found on virtually all Brunswick’s soul releases post-1968, especially on that by Tyrone Davis-he an LP on his own while on the label, the album release in issue here.

“Funky Chicken” is centered around one for Brunswick Willie Henderson & the soul explosions sole. The gurgling, intense, is funk workout “Funky Chicken (parts 1 & 2)”, with its stabbin’hoorn lines, drilling a tease, sweaty floor shaker that, even if an overall, criminally short. The Khanty people here for vocals and Henderson’s super cool late night grate and crackeling cackelings work brilliantly.

The best track here, however, is definitely the indomitable barn burnin’ stomper “soulful Football”, another instrumental anthemic powerhouse which demonstrates why Henderson of sound and skill is so beloved by Chi-Soul fans. Everything is here, from the crushing drums and loping bass to the ringing tone guitar licks, piano and plunkin’ tons and tons of brass. This is the epitome of the Chicago soul sound.

“Off in a black thing” rides a more menacing groove, and could well have been used in one of the blaxploitation films that were then coming up. Heavy distortion on second hard, hard guitars and percussion throughout. A rock & funk monster. For a more sweet soul sound, check out “sugar, Sugar” – Yes, augmented the Archies ‘ finest hour-that a passionate BackBeat is given by Brunswick house drummer Quinton Joseph and further by a number of Willie’s own bright sax workouts.

The rest of music here, it’s safe to estimate, not specific to a Henderson solo jam were recorded. The super funky “Ooh Wee Baby I Love You” served as the Backing track for Brunswick labelmates Fred Hughes and Johnny Sayles respective renditions, whereas “can I Change My Mind” and “Is it something you Got”, of course, were the backbone to Tyrone Davis ‘ hit versions.

A big funk album aptly illustrate why soul fans as I cannot help but feel elated when we Mr Henderson’s name pop up as an arranger, producer and/or writer. With Willie, it gets good y’all …

This album is one of the best soul albums ever to come out of Chicago – and perhaps one of the best albums of the soul to ever come out of the 60 ‘s! Syl Johnson Westside bluesy soul mixes with some great Chicago soul arrangements by Jimmy Jones & the pieces of the peace-and the result is one of the toughest soul albums you’ll ever hear – hard-hitting and funky one minute, sweeter and more groovy next-a wonderful portrait of the depth of Chicago soul at the time.

Tracks
A1 it’s because I’m black? 7: 35
A2 coming together 3: 15
A3 together, Forever 2: 50
B1 Concrete reservation 2: 27
B2 Black balloons 2: 36
B3 Walk a mile in my shoes 2: 47
B4 I’m Talkin’ ‘ Bout freedom 3: 35
B5 Right at 7: 10

Review by Soulmakossa

Before the Marvin Gaye rudimentary ‘ what’s Going On ‘, Sly and the Family Stone’s “there’s a riot Goin’ On” and “Maggot Brain by Funkadelic ‘, Syl Johnson’s ‘ it’s because I’m black ‘ perhaps the first complete, politically inclined black concept album.

The man with the desperate, blues soaked and gospelfide voice-who had delivered delicious, hard socking soul jam since 1967 – stretches on the moody, small keyed blue-soul number, philosophical-title bring it down. A plea, non-preachy, down-to-Earth hypnotic groove that is certainly one of the most poignant Black protest songs ever recorded.

A schizoid take on The Beatles “Come Together” fits perfectly, especially with its jaunty guitar and brooding Hammond. It is also quite logical about Johnson’s overall message on this LP: not ‘ black power ‘, or ‘ Black segregation ‘, but harmony and full integration of all races.

The beautiful “Together Forever” further enhances the Syl plea. The delicate beat and swirling strings form the musical background of more of Johnson’s sincere, genuine texts on the brotherhood of man.

But the man was not blind to the reality: “Concrete reservation”, just like the title-track, rightly draws attention to the plight of his people and what is really “holding them back ‘. The dead-on story-telling on the lives of everyday ghetto, riding a thunderous, funky groove, is every bit as heavy as Marvin Gaye’s “Lichfield Blues (Make Me Wanna Holler)”.

“Black balloons” is another smart track, highlighting the beauty of darkness about a mid-tempo, jazzy groove. The same applies to the low-fi, beautifully arranged “I’m Talkin’ ‘ Bout freedom”, while a frantic take on Joe South of “walk a mile in my shoes” are considerably the pace picks up.

Nevertheless, it is of the energetic album closer, “right on”, that pulls out all the stops. An indescribable monster of a funk tune, the Syl the group, the pieces of the peace, seriously. The looseness, wildness and sheer funkiness of this gem is perfect displayed by the ‘ fluff ‘ that still in: when Syl for another one of his trademark high pitched yelps Jackie Wilson-style, his voice breaking. Syl: “I cracked this time… but I’ve still got a good thing!” And make no mistake, he cranks out two fully successful cries for the rhythm riot ends.

An essential album, and one that really the standard, in my opinion. Blatantly underestimated, this is as challenging as ‘ what’s Going On “, as funky as” there’s a riot Goin’ On is “and so wild and free as” Maggot Brain “.

RIP and research by Mr. Moo

A massive lost funk classic-one of those rarer than rare albums worth the funk! The Montgomery Express were a combo of Florida, who played on the State of small club circuit – work equally well on their own, or a number of better known singers backup. The group got a diversity that is really great-and they are just as well suited for longer, Javan funk instrumentals and shorter more soul-based tunes. The vocal songs are especially around ghosts, as they have a Moody and sad feeling that is more like New Jersey or Detroit Soul group of the time than the usual Miami soul – and the funkier tunes have a nice psychedelic approach that plenty of sweet-toned guitar!

Tracks
A1 the Montgomery movement 4: 44
A2 That 2: 58
A3 stealing away 2: 40
A4 Precious wing 3: 32
B1 party fever 5: 14
B2 I sta by 2: 30
B3 Must make a Comeback 4: 05
B4 left Me with a memory 3: 05

Super rare funk album released on smithsonian folkways in the early 1970 ‘s. “The music of the Montgomery Express is a buried homegrown funk classic that always pulls in triple bills at original copies appear on the fanatical circuit of DJs, vinyl freaks and wayward souls looking for the perfect groove. This is all for a damn good reason. This album, 1973/74 was cut by a group formed almost overnight in an obscure pocket of Florida Indiantown. Led by two blind guys in their 20s (Paul Montgomery & Charles Atkins) with the help of a couple of teenage groove masters, spent The Montgomery Express only two short years together on the regional circuit. She played for regular full audience on a stage covered with hip shaking go-go girls in Indiantown the Cadillac Club before slipping into obscurity. There were no bitter disputes, no creative rivalry, other obligations came and the party came to an end. As Paul Montgomery put it to us, ‘ if we could find each other now, it would be like a family reunion and we would just start again playing. ‘ Fortunately for us, have until that day comes, we shared our daily fix. Party fever is a record of tight but lackadaisical funk, peppered with sweet soul, tight grooves, shuffle tunes and outright panty dropping music! Highlights include a wonderful version of Eddie Floyd’s desire ‘ Gotta Make a Comeback “that will not leave a dry eye in the checkerboard floor and the deep soulful tune” precious Wings “. “

Amazingly deep, deep soul! Released in 1974 on Folkways, this sounds like something that might on a label if Goldwax in the late 60 with ‘s. There are a few meter style instrumentals on almost here, but the ballads on this record only rule! THEY RULE! Just listen to “Gotta Make A Comeback” If you have doubts about that.

The legendary first album by Larry Graham and Graham Central Station-Larry of bold move of Sly & The Family Stone, and the beginning of a new dynasty in mainstream funk! Larry’s bass workstations really the set together – the riffing guitars push over the top of the heavy drums in a style that is tight, but never too “easy”-still with enough of the raw energy of his roots, despite the later crossover fame of the set. All tracks are Graham originals-with the exception of a version of Al Green’s “It Ain’t No Fun To Me”.

Tracks
A1 We Been Waiting 0: 57
A2 Is not fun for me not 5: 11
A3 Her 4: 55
We are A4 Gettin’ Down 4: 43
A5 please tell me what it Is 4: 56
B1 you 5: 10
B2 People 4: 31
B3 why? 3: 37
B4 Ghetto 4: 23

Review by Soulmakossa

Have left Sly & The Family Stone bassist Larry Graham, first set out for managing West Coast band chocolate milk, but soon decided to join, the name of the outfit Graham Central Station change. The group released its self-titled debut in 1973 and, for me, she would never top her greatness.

‘ Graham Central Station ‘ starts less than spectacular, however, with Larry and co. plagiarism soulman Frederick Knight “I Been Lonely for So Long” for the goofy intro “We’ve Been Waiting”. But things quickly much better.

They take on smooth soul balladeer Al Green’s “Ain’t No Fun to Me” and fully transform, turning the b-side of the obscure Hi Records in a tarantual funk-rock monster. Larry plucks his bass like he is picking high wire cables, and drummer Willie Sparks busts loose on his kit as a horde of bison stampede all over it. Everything is raw here, the singing, culminating in a jaw-dropping, apocalyptic, frenzied finale that can make that a skull align.

Graham’s bass chops his best on display on the gurgling swamp rocker “her”, a rather quirky protest tune and his talent for writing really unsetteling, creepy songs with the breed is solidified “We be Gettin’ Down”, ‘ choclet ‘ where Patryce banks to take the lead. “A pigless oink do not mean that slop not rot” … ahh-rite!?

Larry combines a prototypical drum machine (much as Sly had done on his crucial ‘ Rel ‘ album) with his own deep in the Pocket drumming on the smokin’, laidback strut “Tell Me what it Is” and makes it possible the smallest amount of gloss on “can you?”, the first hit of the band. Rest assured, for the chorus of this tune is equally bass-heavy, funky and gritty greasily as “Ain’t No Fun to Me”.

Sly’s brother Freddie Stone guests on the message track “people”, sing and play guitar, but the most harrowing social commentary is reserved for the album “Ghetto”, where in a stew of Drones funk grooves and Dantesque wails Larry bellows of the misery of the inner city.

The only other clunker here, for me, the messy “why”, a ballad by pseudo-Patryce that the enormous power of the other selections are missing.

Johnny Allen Hendrix A.K.A James Marshall left the United States Army at the age of 20 after giving his country one year service has a paratrooper he discharged himself. During this time Hendrix was to become the most influential guitarist to walk this planet.

It started with Chas Chandler the muscian of the The Animals who introduced Jimi Hendrix to the London scene where he released “Hey Joe” originally released by a band called “The Leaves” this was to become the first single for Hendrix in 1967 with Noel Redding and Mitch Mitchell calling themselves Jimi Hendrix Experience. With Chas Chandler being their manager the band continued to create a name for themselves with “Purple Haze” which highlights the mood of the day with a archetypical psychedelic sound that spent 14 weeks in the UK charts after reaching number 3.

With recognition mounting Hendrix released his album after “Are You Experienced” he introduced in 1968 another album called “Axis: Bold as Love” which introduces more of the same psychedelic tempo which the album cover portrays. The Jimi Hendrix Experience was to come to a close with their third album “Electric Ladyland” during the recording of this album Hendrix had become indifferent with Chandler causing him to go his own way in May of 1968.

I would like to introduce you to Christian Scott, from Louisiana, New Orleans who has been acclaimed to be the jazz trumpeter of fusion. Christian Scott in his late 20′s has managed to accomplish what some jazz musicians aspire and that is to be recognised for their unique form of melody. When you listen to his “whisper technique” you automatically realise as well as being gifted he has the mind and soul of an introvert. I wonder who inspired him to accomplish so much in the little time he has been involved on the jazz scene, was it the ambiance of New Orleans or was he just born to play the trumpet, what ever reason he’s here to stay and Dizzy Gillespie must be smiling down on Scott for his sound is certainly inspirational.

Not only is Scott renown for his musical talents but he is known for taking the community to heart and believes in giving music classes and his knowledge of the music industry to the less experienced youth where ever he travels he’s searching out community schools and projects in order to know what is happening and what they require in way of instruments. He can also inspire people with his unique dress sense because he seems to be setting trends in the fashion industry by being recognised for drop crotch jeans and has been recognised and celebrated by fashion magazines no other then Dior Homme.

The Cat has arrived with his “whisper technique” and is creaming fusion for his own entertainment and if your here in Europe or in Asia, South Central or North America the name of Christian Scott will soon if not already be bring you the 13th Amendment and his sextet performance your way. The warm breeze is spreading around the globe and you should not miss out a moment of your time to be entertained on another level many can never express but carry through obstacles you thought were never possible in this genre. Berklee School of Music have adopted a genuine student who is changing the course of old school Miles Davis, Kind of Blue.

The Greyboy Allstars were formed in San Diego in 1993 by DJ Greyboy and saxophonist Karl Denson (known for his work with Lenny Kravitz). Bringing on fellow membersElgin Park (guitar/vocals), Chris Stillwell (bass), Zak Najor (drums) and Robert Walter (keyboards), the group quickly became a West Coast underground sensation, blending acid jazz, ’70s funk, swing and other groove-laden music to create artistic yet danceable compositions.  The Greyboy Allstars were formed in San Diego in 1993 by DJ Greyboy and saxophonist Karl Denson (known for his work with Lenny Kravitz). Bringing on fellow members Elgin Park (guitar/vocals), Chris Stillwell (bass), Zak Najor (drums) and Robert Walter (keyboards), the group quickly became a West Coast underground sensation, blending acid jazz, ’70s funk, swing and other groove-laden music to create artistic yet danceable compositions.  The Greyboy Allstars were formed in San Diego in 1993 by DJ Greyboy and saxophonist Karl Denson (known for his work with Lenny Kravitz). Bringing on fellow members Elgin Park (guitar/vocals), Chris Stillwell (bass), Zak Najor (drums) and Robert Walter (keyboards), the group quickly became a West Coast underground sensation, blending acid jazz, ’70s funk, swing and other groove-laden music to create artistic yet danceable compositions.