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

Frankie Beverly - Color Blind

I rarely play out much these days, but I did last night. And, maybe I'm getting old, but getting outta the car last night I realized my ears were ringing like a motherfucker. But, it was well worth it. I played alongside two fantastic bands last night and the soul and funk was alive and well in Oakland.
It was incredible really. Gene Washington and The Ironsides were incredible. Both slow soul and dance floor funk done to perfection without a blemish. The singer Gene Washington, could still really belt out his notes and did so with an amazing authenticity and true sincerity, he brought a humble realness to his performance.


Then, the Grease Traps hit the stage. Looked to be an instrumental band, and I hear that's how they started..but, then the man known only as Gata hit the stage and literally set the club on it's ass end. They tore it up. Gata was the man!
Gene and the Ironsides covered Dyke and The Blazers, and did some excellent originals. The good homie Oliver Patches, of Lower Bottoms, told me March was official Dyke and The Blazers month. I like the sound of that! When Gene got into 'Let A Man Be A Man' we all realized how amazingly similar he sounded to Dyke. Grease Traps covered everything from 'I Believe In Miracles' (Jackson Sisters version of course), another Dyke song, 'The Funky Bull', and all the way to this song, 'Color Blind' by Frankie Beverly. Which, by the way sounded EXACTLY like the original. Im' sure this is not an easy feat to accomplish. Those harmonies, that break, those horn riffs. Wow, let's just say I was blown away.

Gene Washington And The Ironsides

It was an incredible night all around. 'Lower Bottoms' and 'Where It's At' DJ's playing in the first level, these two incredible bands playing upstairs. With Fernando and his 45's and yours truly playing all 45's in between the bands. It was also the 'Where It's At' 1 year anniversary and the 1 year anniversary of the Legionnaire, which by the way is turning out to be a fantastic spot. Last night was proof. And, that's coming from me, and I don't get out much these days.

The Grease Traps

The Traps playing 'Color Blind' had special meaning to me. Aside from it still being incredibly relevant of a message, it's one of my all time favorite Bay Area funk 45's. The two early Frankie 45's that I have speak volumes for what they were like as a band, and what it was like with them in the Bay Area. Of course I can't find it now, but I recently snagged a pick off of Facebook with Frankie Beverly listed as playing a weekly spot at the Keystone Club in Berkeley. The Listing read 'Frankie Beverly's Raw Soul, and to imagine them playing 'Color Blind' in Berkeley in 73-74 is just awesome. Well, you could say my dreams came partly true. When Grease Traps did this song completely and efficiently and with a whole LOT of soul, myself and the entire club were elated and with happy feet.

A heartfelt, sincere and electric performance from Gene Washington

Funny thing, the guitar player Kevin O'Dea came up to me, with a copy of their set list, before they took the stage, and said 'Try not to play any more of these' and there was 'Color Blind' at the encore location on their set list. Oops. My bad guys, I honestly did not know a few things...one, that you guys are fuggin incredible, two, that I would be so stupid to play THAT tune, of the TWO Frankie Beverly 45's I brought, and three.. that you guys, the Grease Traps, would have the eloquence and dexterity to cover that song. And, let me say again, to perfection.
Now, the singer for Grease Traps goes by the name of Gata. Lemme just say this man brings it. If you're gonna see the Grease Traps, you are gonna see that Gata man, and you better get your wig on tight, 'cause he's pure dy-no-might. If you give him enough room on stage this cat might just turn back-over flips. Stone cold solid soul performance. all. the. way. 'round.
They also covered another big tune that I almost brought, those of you who actually read these posts (rather than just download everything) will know I just recently acquired it, but 'Bold Soul Sister, Bold Soul Brother' is another hefty tune to cover, at least well. So, hats off to both the Grease Traps and Gene Washington and The Ironsides. For funk and soul to be in Oakland, like that... in that way last night, was a sincere TREAT.

The other Frankie Beverly 45 that I almost dropped on those ears and feet was 'People In The Know' another banger on the Gregar label. Equally rare, and equally potent. Another funk grinder, with higher message included. This version of 'Color Blind' that Grease Traps covered was the early version on Gregar which is much more raw and heavy compared to the later Maze version. The later Maze version is still good, incredible in fact, but no where near the insanity that is this 45. There's a sound of a revolution in this 45.

There's another Frankie Beverly And The Butlers 45 that I really want, on the Sassy label, 'If That's What You Wanted' which is equally hard edged as these two on Gregar, but tinged in a uptempo Norther dancer fashion. It's incredible too. All of Frankie's early shit must be incredible.
Imagining Frankie Beverly and Raw Soul being in the Bay Area way back then, in local clubs to be specific, playing the likes of these tunes is a funk collectors dream. To have bands in the Bay now playing Dyke and The Blazers, and Frankie's tunes is a blessing. Right on Bay Area, kudos to you then and now.

The Grease Traps are coming your way, check em out!

Important not to forget Colemine Records as both the Ironsides and Grease Traps have put out releases on their label. Colemine has brought a tough and solid broad spectrum of funk and soul acts to vinyl. We're thankful for all these new funk families, and as a example of what these bands can bring in the LIVE environment, last night at the Legionnaire, proof is in the pudding and the pudding' was TASTY. New funk is alive and well. Thanks Colemine, you are bringing the heat.

Colemine has an arsenal of new breed funk and soul. 

Check out these bands playing live here in the San Francisco Bay Area.

Gene Washington And The Ironsides are playing 

The Starry Plough on March 8th

The Hopmonk in Novato on the 15th

Amnesia Bar in SF on the 20th

The Grease Traps are playing

19 Broadway in Fairfax on March 20th

  Alpine Meadows (12-3pm) & Bar of America in Truckee (9pm-1am) on April 5th
Amnesia in SF  April 17th
Off The Grid at Ft. Mason in SF May 2nd
 Boom Boom Room in SF (w/Sure Fire Soul Ensemble) on May 17th

And, enjoy this Frankie Beverly's Raw Soul offering 'Color Blind'

Frankie Beverly - Color Blind

Movie Special - 20 Feet From Stardom

On the surface its a music documentary. But, once you get past the first layer of this onion its completely something different. In fact, its more like a surgical slice right through everything you know as music today. It dissects pop and soul music and examines the back bone of super star performers and countless recordings by looking at back up singers and their incredible stories, contributions, and roles they played. Yet, the layers run even deeper still... it offers a look into the political side of music, the roles of women in music and the personal stories of some contemporary artists. It truly is so much more than your average music documentary. It's just damn excellent.
Hearing the vocals isolated on multi tracks is the glass bottom on the fishing boat. I was floored to hear the backing vocals in ways I've never had the chance, yet heart broken to hear some of these stories. Some stories tragic and some incredibly inspirational.

The movie features Darlene Love, Merry Clayton, Gloria Jones, Claudia Lennear, Lisa Fischer, Judith Hill, The Waters Family, Tata Vega, Mable John, Janice Pendarvis, Lynn Mabry, David Lasley, Patty Austin, Edna Wright and fucking countless others. Now for us, more educated soul afficianadoes we know that technically these aren't all 'back ground' or 'back up' singers. And, some were parts of incredible groups like Parliament/Funkadelic or Honey Cone. But, it doesn't really matter, this story is about more than just that, it's about soul singers in general. That appears to be the 'backbone' of this story. It is more about the stories and paths of a handful of soul singers and some of them have been back up singers. Like I said before, more importantly its a look into the window of soul and rock and pop music.

Yes, that's Luther Vandross singing for David Bowie.

Luther honoring Lisa Fischer

The amazing Merry Clayton

The always bad-assiest Ikettes.

It's really about those folks that are just behind the limelight, have walked right beside it, and even been in it, but now still aren't household names. In a lot of ways it's a look at fame. It's a documentary about unsung singers, or lesser know heroes of music.
For that exact reason this movie gets the highest praise from us. Discovering singers or musicians on a big screen is a welcome thing, and why this movie completely won my heart. Plus I absolutely love these women soul singers that are speckled throughout the movie. They are indeed some of my favorites, worthy of worship, and damn deserving of some credit and shine!

Merry at an amazing moment listening to her isolated
backing vocals on 'Gimme Shelter'

Luther has always loved and valued backing vocals.

R&B's first action figures. 

For those of us that have 45's by Gloria Jones and Able Mable, and LP's by everyone from The Waters to Merry Clayton..they are ALREADY heroes in our world. We already know about these vocal beauties. We're already fans. But, this movie opens the door to a wider audience and folks that maybe don't know. Plus the artists get some much deserved respect and wider appreciation! You can't be mad at that. It does drift into a 'We Are The World' kinda vibe, and of course has the stereotypical 'oldies concert' feeling at the end. But, even though a bit mainstream, it's still a heart felt journey and a beautiful movie. It's few movies that get rated this high on Rotten Tomatoes and for good reason. Definitely gets the stamp of approval from Sound Boutique.
Go see this.

These backing singers got to fuel the 'sounds' of a revolution.

Bold Soul Sisters.

Phil Spector and Darlene Love - A complex relationship: Phil helped make
Darlene a legend, yet he also stole stardom from just outside her reach. 

YOU HAVE BEEN PROPERLY WARNED. DON'T MISS.

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!

Martin L. Dumas, Jr. - Attitude, Belief & Determination

Well, I finally, finally got a copy. It's a grail amongst the two-step and boogie crowd. It's also rare as shit. Harder to find than a mosquito dick. Even in Chicago this record has been known to be impossible to find. Our good folks from both far and near, from the folks at Cherries Records to Peabody's know this track doesn't turn up very often. Speaking of the Peabody's and Chicago this song is the mascot, if you will, of the amazing compilation by the Peabody's called 'The Real Side Of Chicago'. Most of you know about this comp, but until I had this glorious Martin Dumas 12 inch in my greasy hands the comp was the only way I had it.


The song is a serious mood setter, and epic at almost 10 minutes. It also has this awesome salsa or brazilian turn around that it plays with throughout the song. This is definite driving music, ripe for cruising around in a convertible or old school ride on a sunday. What I love most is it's positive message it's the kind we need more of in our world.

Martin L. Dumas, Jr. - Attitude, Belief & Determination

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