SAVE THEIR SOULS

Drummer Hamilton Bohannon's "Stop and Go"--released in 1973 and often widely considered his finest record--concocts sensuous funk grooves from daring arrangements boasting tripped-out wah-wah guitars, punishing basslines, and massive drum breaks. In short, a sampler's wet dream. While later Bohannon discs would veer too far into the realm of up-tempo disco, "Stop and Go" favors slower, sexier rhythms. The end result is an uncommonly lush and tactile funk/soul record.

"Save Their Souls" has been sampled by Jay-Z ("Cashmere Thoughts"), Kool G Rap ("F U Man"), and by one of my personal faves, Ugly Duckling ("Introduckling").



Ugly Duckling's "Introduckling":

BIG THINGS COME IN SMALL PACKAGES

I'll be honest, folks--I don't know a thing about the Young Gents, except that they licensed a few 45's for Buddah Records, like the one below from 1973. A google search proved rather fruitless (although you will find some copies of the 45 flotating around for about $60). I found this for $7 in a used bin. Gotta love it.

DON'T CHANGE YOUR LOVE

The Five Stairsteps, known as The First Family of Soul, were an American Chicago soul group made up five of Betty and Clarence Burke Sr.'s six children: Alohe, Jean, Clarence Jr., James, Dennis, and Kenneth "Keni", and briefly, Cubie. They are best known for the 1970 song "Ooh Child," listed #392 on Rolling Stone's 500 Greatest Songs of All Time.

"Don't Change Your Love" is one of the most sampled drumbreaks ever. It has been sampled by A Tribe Called Quest, Big Daddy Kane, Blackalicious, Chi-Ali, Chubb Rock, Common, De la Soul, Del, Edo G, Goats, House Of Pain, Ice Cube, LL Cool J, Masta Ace, Naughty By Nature, Nice And Smooth, Organized Konfusion, Pete Rock, Percee P, Slick Rick and many others.



Naughty By Nature's "Hip Hop Hooray":

2001

Unlike some of the Pickwick knock-off albums from the time, this blacksploitation effort by Cecil Holmes is top-shelf all the way -- as Cecil was one of the best funky bandleaders of the early 70s. The large group on the album features funky keyboards by Pat Rebillot, plus plenty of wah wah guitar, and enough strings to make the album rank up there with the soundtrack feel of the day. Randy Brecker also appears on the record. Includes versions of "Superfly", "Slaughter", "Freddie's Dead", "Across 110th Street", "Trouble Man" and a wild cover of the "2001" theme, below. A must have for DJ's--the opening breakbeat is as nasty as they come.

SISSY WALK

Mississippi-born Billy Ball and various incarnations of his backing band, The Upsetters, released a slew of singles on Starday affiliated labels. Based in Indianapolis, Ball and his cohorts toured the country, backing acts such as Rufus Thomas and Dee Dee Warwick. Their most famous release, "Tighten Up Tighter" is one of the most sought-after funk 45's ever, and "Sissy Walk" isn't far behind.

CHICKEN YELLOW (GIVE IT TO ME BABY)

Proto-disco funk by the six man crew of Miami, one of the best 70s combos working in the Sunshine State -- and their original records are filled with tasty funky grooves. The breakbeat classic "Chicken Yellow" is a good primer of their overall sound, and features a fat, chunky breakbeat that opens up for a four-bar monster early into the song. Neneh Cherry later sampled this break in "Buffalo Stance."

BACKDOOR SANTA

Originally issued as an Atlantic compilation back in 1968, Soul Christmas is just what is says: a collection of songs featuring R&B legends such as Otis Redding, Carla Thomas, Solomon Burke, Joe Tex, Clarence Carter, William Bell, King Curtis, and Booker T. & the MG's. But if you're looking for a compilation of mostly traditional Christmas tunes, this is not the record to buy. Apart from nods to time-honored classics like "White Christmas" (gloriously reinterpreted by Redding), Booker T.'s perky "Jingle Bells," and the R&B favorite "What Are You Doing New Year's Eve" (featuring sax man King Curtis at his bluesy best, along with a guitar solo by Duane Allman), the songs are all tailor-made originals that fit the style of the respective artists. Thus, Carter's "Back Door Santa" is a hilariously salacious cut--a supremely funky tune that Run DMC sampled for their own Yuletide concoction, "Christmas in Hollis."

TROPICOLA

Crazed music librarian Nino Nardini was considered a mad scientist of modern music. The French genius had one of the most gifted and imaginative minds not only as a composer, but an innovator as well, and he has never failed to astound or impress with the sheer brilliance and variety of his musical concoctions.

A slow funky masterpiece, 1972's "Tropicola" is a bubbling groover with a snakey exotic jungle groove. This music pushed the boundaries in the '60s and '70s when it was first created; it's still doing it now, and probably will continue to do so for years to come.

MUSICAL SILT

The Ethiopian revolution of 1974 had one of two consequences for the country's musicians: play, against their will, in military bands, or flee for their lives. It was right around this time that Girma Beyene joined forces with the Wailas to produce one of the heaviest, most incendiary, guns-a-blazin' tracks of afro-funk ever.

Born in Addis Ababa, Girma Beyene started his career as a musician in high school and and had a long and fruitful career playing with other legendary Ethiopian bands like the Ghion Band, the Girmas Band, and the All Star Band. During the revolutions of '74, Beyene joined the Walias Band. It’s members included Hailu Mergia (organ), Moges Habte (sax), Yohannes Tekola (trumpet), Mahmoud Aman (guitar), Temare Harege (drums) and Girma Chibsa (percussion). It was with the Wailas that he composed "Musical Silt," a tune that has adorned the Ethiopian instrumental music scene for years and even remade by various U.S. bands including The Either Orchestra, The Daktaris, and Antibalas Afrobeat Orchestra.

Menacing and monolithic, "Musical Silt" snarls and serpentines itself right out of the speakers, and it's certainly one of my favorites. (Please excuse the 6 or 7 second lead-in time at the beginning of the track.)

WACK WACK

Breezy jazz-funk, a little bit of disco, and porn soundtracks inform Tim "Love" Lee's debut, all produced with a variety of late-'70s and early-'80s B-movie soundtrack staples like cheap synthesizers, sarod, bongos, vocoder and vibes.

"Wack Wack" has a unique and edgy sound, with some jaw-droppingly delicious breaks, Afro-cuban percussion, festive horn samples--it's well-programmed and just enough of a presence to lift "Confessions of a Selector" above many stale trip-hop and breakbeat records.

DAKTARI WALK

Soon after it's release in the early Desco days, the Daktaris' "Soul Explosion" became a sought after funk classic and has since become a staple in every serious funk and afro-funk collection.

According to rumor, The Daktaris are actually several alumni from Fela Kuti's band, and as expected, "Soul Explosion" contains massive chunks of throbbing Afrobeat, the style perfected by the late Nigerian performer. Part Nigerian and part American funk à la James Brown, these 10 mostly instrumental tracks are hardcore, juju-headed time bombs from the dance floor of the motherland, with a baritone sax-fronted horn section riding earthshaking rhythms, thundering bass lines, and occasional wah-wah guitar.

As Peter Franklin of Abidjan Musique says, "The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer."

PS-Thanks to the Calisoulbrother for hipping me to this one many moons ago.

KEEP IT FUNKY

Cleveland Eaton is considered by many to be one of the best jazz bassists ever. Eaton was born in Alabama where he started his musical career. Later he moved to Chicago where he became part of the Ramsey Lewis Trio, recording on almost all of Lewis’ big hits. He also did some studio work for Chess records and appeared on such projects as the Soulful Strings’ recordings.

"Keep It Funky" is an appropriate beginning to "Half and Half," which is by far one of the funkiest jazz-funk albums from the early seventies. Greasy guitars, harmonicas, and a steamy, halftime groove swirl together and the end result is--what else?--a dusty nugget.

BREAKTHROUGH

After he sang the praises of a certain black private dick named Shaft (but before he started slinging hash in the little town of South Park), mega-baritone crooner Isaac Hayes got a chance to personally bust some heads in the little known but ultra-cool blaxploitation classic "Truck Turner."

The soundtrack features stellar work from Isaac Hayes, who scored a batch of badass tunes that still stand with some of the best funky soundtrack work of the 70s. The rhythm's especially hard on the best cuts -- really crackling with a lot of intensity, and a stark, hard funky sound that's made the record a favorite of beatheads for years. Ike kicks it hard on cuts like "Pursuit Of The Pimpmobile", "House Full Of Girls", "Drinking", "Give It To Me", and "Now We're One". But the real dusty nugget on this record is the massive "Breakthrough," which alone is worth the price of the high cost of the LP.

HARVEST IN THE EAST

Tommy McCook (3 March 1927 – 5 May 1998) was a Jamaican saxophonist. A founding member of The Skatalites, he also directed The Supersonics for Duke Reid, and backed many sessions for Bunny Lee or with The Revolutionaries at Channel One Studios in the 1970s.

"Harvest in the East" was recorded and released by Clive Chin, one of Jamaican music's greatest unsung heroes. While working at the family business, Randy's Record Store and the crucial studio upstairs, Randy's Studio 17, Chin oversaw seminal recordings by the '70s top reggae performers and producers: the Wailers, Alton Ellis, Dennis Brown, Gregory Isaacs, Lee Perry and Black Uhuru. From 1969, when it opened, Randy's Studio 17 became a focal point of Jamaican music, with the studio booked non-stop. Working with innovative engineer Errol Thompson, a teenaged Clive Chin laid down thick bass and drum rhythms which became both the signature sound and the roots of reggae and dub.

Often hailed as one of the 20 greatest Reggae seven inches, Tommy McCook's "Harvest in the East" is a true masterpiece.

ROCK STEADY

Like its predecessor, "Spirit in the Dark," 1972's "Young, Gifted and Black" found Aretha moving with soul music's elite into a progressive phase that opened up the emotional content of her work even further. It mixed both sides of Aretha -- the earlier hard-hitting soulsister, and the developing vocalist with a rich talent for more sophisticated material. The album features the anthemic title cut in Aretha's famous version -- plus the sample favorite "Rock Steady."

The track was recorded in Miami’s Criteria Studios in the fall of 1970. Franklin, who wrote the song and provided a scratch vocal and piano part, was present at the morning session along with Bernard Purdie on drums, Cornell Dupree on guitar, Richard Tee on organ, and Chuck Rainey on bass. (Franklin’s final vocal, the backup vocals, and the horn parts would all be added later.) Producer Arif Mardin eventually wrote out charts, but none were really needed for the simple two-chord, two-section ditty about, ahem, jumping into your car and “taking a ride.”

After a few quick run-throughs, engineer Gene Paul (who was responsible for Rainey’s massive bass presence in the mix), said, “Let’s put one down so we can hear what it sounds like.” Rainey, Purdie, Dupree, and Tee had cut many a side together, and in a testament to their creative powers, the foursome issued a slamming first take. The diligent production team of Mardin, Jerry Wexler, and Tom Dowd had the musicians rework and re-record the song for the next three or four hours before it was finally realized that the first pass was perfection.