1. James Brown “There Was A Time/ I Can’t Stand Myself” (King)
This is for me still the first and last word when it comes to what funk is about. I bumped my folks copy of this as youngster and still play it to this day. “There Was A Time” brings energy like no other, while the flip sounds like what you want every obscure funk 45 to sound like. Untouchable.





2. Alex Williams & the Mustangs “The Thrill Ain’t Gone” (Soultrack)
Once we found our feet, this was a very early discovery for myself and a few friends. We couldn’t believe the hammering drums and relentless nature of this strange Georgia record. Was there more weird and obscure funk shit out there like this? Obviously there was, as everyone soon found out.





3. Everyday People “Everyday People” (Forte)
The day I found and heard this local Kansas City rarity, I knew what my pursuit would be. Forget everything else and find local records. This turned up in ’93 and has not been seen since. Don’t bother asking Ellis, as he had nothing to do with this other than put the word “Forte” on the label. Both sides smoke with unbelievable musicianship and throttle.





4. Little Beaver “Do Right Man” (Saadia)
I still get goosebumps when the horns come into the arrangement on this tune. In the halcyon days of discovery, I found 80% of the Saadia catalog in duplicate at once. We thought nothing of it, funk was still inexpensive. But above the Dowdells and Super Funkys, Beaver’s voice shone through. Over the years this one has escaped the funk purist, but has blessed the ears of those into deep Black music.





5. Third Guitar “Baby Don’t Cry” (Rojac)
In addition to the aforementioned JB release, this is measuring-stick funk. That which all else gets measured
by. The first time I heard the break with Holloway’s vocals I nearly had cardiac arrest. This was one of the first “big money” records (like $75!) and birthed a habit that has grown to epidemic proportions. The Third Guitar is plain fucking massive and anyone who says different needs to replace their incus.





6. John Bradley & his Swinging Soul Seekers “Everybody’s Getting Soul” (Em-Jay)
Fast forward to the late 90s and funk collecting becomes utterly global. I got this in a trade from the venerable Josh Davis and it was the zenith of wild, uncontrollable funk madness. Just the stuff I was after. I put this on to a now mythical tape, entitled “Home of the Schlitz,” which I gave to Lucas McFadden but soon found its way to an evergreen Eothen Alapatt (Egon). I can still hear the young buck on the phone screaming, “What is that one!!?? The one that goes BA DA DA DOOM-DOOM-DOOM-DOOM-DOOM DA!?!?”





7. Johnson, Hawkins, Tatum and Durr “You Can’t Blame Me” (Capsoul)
Being from Columbus, I might have an unfettered bias towards 45s from that city, but this particular record is
extraordinary, regardless of origin. This is sweet soul with heavy hip-hop feel. Spooky, colorful and sometimes transcendental, I have played this continuously for the past two years. I couple this with “Trying To Get To You” by the Imperial Wonders for maximum transportational capacity while in the headphones.





8. Jimmy Tate “Please Come Back” (Mid-Tune)
I first heard this on a Goldmine Deep Soul CD in the mid-90s while driving through Wyoming. The drums were harder than a thousand nails, but Tate’s voice was even heavier. The soulfulness and intrepidation of this record tore my lady and I up for a long time. When I finally got a copy some time ago she replied, “You have THAT in the house?” A moving and bittersweet record that everyone should hear at least once.





9. LG and the Incredible Soul Seekers “Big Head” (Stepping Stone)
This was a recent acquisition from a certain bespectacled New Yorker, and one that shows that the funk canon is untiring when it comes to revealing its long hidden wares. Had this been discovered circa. ’94, it would be Hall of Fame material like Leroy and the Drivers, Mickey and the Third Guitar. Lowdown Atlantic Coast instrumental funk with bulbous drums, cyclical horns and some sick “wow-wow-wow” guitar.





10. Carl Temple “Soul Day Theme” (Brighter World)
“She’s Gone” by the Hamilton Movement seems to have opened many funk eyes to the sound of sophisticated soul in the 70s. This record would be in that same bag. Perfect ambience marries upfront drums and some certified soul vocals and I can’t take it off my turntable. This was made in the mid-70s to celebrate an ongoing annual celebration in Detroit called (what else?), Soul Day. Exactly where I am at currently in this state of record affairs.


city you live in?
Chicago, IL

how long you have been collecting?
14 years

most heart stopping find on a digging session?
Last weekend in Ohio was rather lucrative.

top spots for record hunting?
The telephone and the car

ebay. good or evil?
Best of both worlds

motown or stax?
Soul Kitchen

sneakers or shoes?
New Balance

creole or gumbo?
Burnt ends from LC's in Kansas City, MO.

favourite tipple?
I got a fifth of henn, what you want?

where can people see/hear you play?
Sheer Magic, Danny's Tavern, 1951 W. Dickens, (1st Weds. of every month)

anything to add?
What's round on both ends and high in the middle?