Soon after I started reading The One, R. J. Smith’s fine new biography of “The Godfather of Soul” James Brown, I realized I didn’t know many of his funk albums. I didn’t even know what made an album funky or soul except by listening to the beats. I grew up on soul music, but as funk goes, I was inclined to spend my hard earned on World, Jazz and Blues. Growing up with the soul sounds of black music that baptized me in my junior high and high school years. And for me, the Godfather was my Soul King.

As I journeyed through The One, I became more curious about Brown’s funk period on vinyl, of which I own none but have listened to extensively since the CD era. While reading The One, I have enjoyed to its fullest Joaquim Paulo’s fine and extensive study, Funk & Soul Covers. I even found a few vinyl gems in my collection that are among the main stays of my musical listening experience.

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In 1969, when I was forced to go to summer school to beat the draft, I was late and cut a must-be attended class that must be passed or go to 1A. (For you youngsters, 1A was a quick ticket to Vietnam.) The reason for being late was Issac Hayes Hot Buttered Soul in full album (both sides) was being played on the radio and I heard for the first time his version of Walk on By. Long songs made this record and I couldn’t stop listening. Hot Buttered Soul soon became part of my record collection. I flunked that class but squeaked by the second semester and did not have to visit the jungle.

In 1979, We Are Family by Sister Sledge played constantly in Lemuria as the World Champion Pittsburgh Pirates wives danced on top of the dugout at Three Rivers Stadium.

In 1974, my second most influential Soul and Funk Album is Oluntunji’s Soul Makossa, my first Baba Olatunji discovery. I found this gem in a small record shop in Washington, D.C. Before the Internet, young folks, record hunting was truly like prospecting.

Without question, my favorite, most listened to, most partied to, most drummed with, and a record that says it all about my choice of funk is the brilliant 1974 Wild Magnolias with the New Orleans Project which includes the great New Orleans hand drummer Alfred “Uganda” Roberts. Occasionally a record can change lives and for me and my pals, this masterpiece did just that.

Back to James Brown. Funk and Soul includes three James Brown covers. One is Mother Popcorn featured above. The other two featured are Get on the Good Foot and Say It Loud, I’m Black and I’m Proud.  I ‘m not sure I have ever seen or listened to these albums.

If you have either of these three records bring them to share at our James Brown party Friday June 29 at 5:00 for a couple of beers. It’s vinyl time for James Brown as we celebrate R. J. Smith’s fine biography The One: The Life and Music of James Brown.

From Funk and Soul Covers, I have many CDs of the included, from which I have enjoyed countless hours of listening pleasure. However, many of the albums just passed me by. I don’t know if these are any good except for their cover art.

However, one album cover caught my eye and it has no accompanying description. I feel certain I would have bought it based just on the cover alone. In 1974, I guess I didn’t flip it by while I was browsing: Everything I Do Gonna Be Funky by O’Donel Levy. If you own this one, you would most likely remember the album art. It’s outrageous!

If anyone knows this record, please burn me a disc, bring it Friday night and I will give you a beer. If you have never seen this cover, check it out in Funk and Soul Covers.

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