After the Ohio Players, Roy Ayers, Curis and Leroy I wanna bring on some more soulful acts and hear your opinions/experiences. its been fun reading your replies of the previous threads and I would like to hear more. however, I am disappointed how few true funksters we have on the org...

Chocolate Milk. Formed 1974 in Memphis, Tennessee, U.S.A. Amadee Castanell (tenor, soprano, sax),
Ernest Dabon (bass), Robert Dabon (piano, clavinet, moog), Joseph Smith III (trumpet, flugelhorn), Frank Richards (lead vocals, percussion), Dwight Richards (drums), Mario Tio (lead & rhythm guitar) and Kenneth Williams (percussion). With producer Allen Toussaint the group recorded for RCA Records from
the mid-70's to the early '80's. Chocolate Milk were a New Orleans funk and soul ensemble who enjoyed
mad success in the mid-'70's. My favorite albums: Action Speaks Louder Than Words (RCA 1975), Chocolate Milk (RCA 1976), Comin' (RCA 1977)

Creative Source. Formed 1972, Los Angeles. consisted of: Barbara Berryman, Barbara Lewis, Don Wyatt, Steve Ranagan and Celeste Rose. Initially they recorded for the Sussex label where their albums included the Michael Stokes-produced 'Creative Source' (1973) and 'Migration' (1974), including 'I Just Can't See Myself Without You' and 'Who Is He And What Is He To You', before they switched to Polydor for 'Pass The Feeling On' (1975) and 'Consider The Source' (1976).

The Dramatics. This R & B vocal group was formed in Detroit in 1964 as the Sensations. They changed their name to the Dramatics in 1965 and originally consisted of: Larry Reed (lead), Rob Davis, Elbert Wilkins, Robert Ellington, Larry Demps and Ron Banks. Robert Ellington left the band at an early stage. The Dramatics were a typical 60's stand-up vocal group, specializing in romantic ballads, but ably made the transition to the disco era in the late 70's with aggressive dance numbers.
My favorite is 'Whatcha See Is Whatcha Get' (1973), a record we have discussed on another thread a little while ago.

Fatback Band. Formed in 1970, The Fatback Band comprised of: Bill Curtis (drums), George Williams (trumpet), Johnny King (guitar), Johnny Flippin (bass), Earl Shelton (saxophone)and George Adam (flute). The Fatback Band made many great singles through the '70's and early '80's, ranging from humorous novelty tunes to energetic dance vehicles and even occasional political / message tracks. My favorite albums: Let's Do It Again (Perception 1972), People Music (Perception 1973), Feel My Soul (Perception 1974), Keep on Steppin' (Event 1974), Yum Yum (Polydor 1975)

Nikki Giovanni. My favorite poet since gil-scott. the best work is captured on Truth Is On It's Way (Atlantic 1971), Like A Ripple On A Pond (Collectables 1973), The Way I Feel (Atlantic 1975)

Willie Hutch. A keen and ambitious singer / songwriter as a teenager, Willie first came to the attention of the music business in 1964 when his debut single 'Love Has Put Me Down' was released by the Soul City Records label. His songs attracted the attention of The Fifth Dimension who recorded a number of them. Willie himself recorded with Venture prior to two albums in the early 70's with RCA (including 'Let's Try It Over'). Willie produced the first Smokey Robinson album without The Miracles, and when Sisters Love had a cameo role in 'The Mack', the group's manager suggested Willie record the soundtrack. The result was 'The Mack', including 'Brother's Gonna Work It Out' and 'Slick', Willie's first album for Motown in 1973. (Willie also worked with Sisters Love on 'Mr Fix-it Man'.). However, my favorite is Ode to My Lady (Motown 1975).

syl johnson. Is It Because Im Black? (Winight 1970) says it all.

John Lucien. In 1970, he released his debut album 'I Am Now'. During the '70s, Jon Lucien became a popular figure as a jazz-tinged romantic song specialist. 1973 saw the release of the, much sought after, album 'Rashida', containing the popular tunes 'Would You Believe In Me', Lady Love' and the tender title track. For the follow up, 1974's 'Mind's Eye', Lucien collaborated with veteran producer Dave Grusin. The album contained the rare groove tunes 'Listen Love' and 'World Of Joy'.

The Main Ingredient. One of several groups using the name 'The Poets', they decided to become the Main Ingredient and signed with producer Bert DeCoteaux, whose lush arrangements provided the requisite foil for their excellent harmonies. This skill was particularly apparent on such early releases as 'I'm So Proud' (1970), 'Spinning Around (I Must Be Falling In Love)' and 'Black Seeds Keep On Growing' (both 1971). McPherson died from leukaemia in 1971 and, ironically, it was his replacement, Cuba Gooding, who sang on the group's million-seller 'Everybody Plays The Fool'. my favorite is Euphrates River (RCA 1974).

The Meters. This fundamental quartet: Art Neville, Leo Nocentelli (guitar), George Porter (bass) and Joseph 'Zigaboo / Ziggy' Modeliste (drums) came together during informal sessions held in various New Orleans
nightclubs. Initially known as Art Neville and the Neville Sounds, they were spotted by producers Allen Toussaint and Marshall Sehorn, who signed the unit to their Sansu label to work on sessions for the duo's other artists, including Lee Dorsey and Betty Harris. Redubbed the Meters, the group's first singles, 'Sophisticated Cissy' and 'Cissy Strut', reached the US R & B Top 10 in 1969. These tough instrumentals mixed the bare-boned approach of Booker T. And The MG's with the emergent funk of Sly Stone, a style consolidated on several further releases and the unit's three albums for the Josie label. This canvas was broadened on a move to Warner Brothers / Reprise in 1972, where a series of critically acclaimed albums, including 'Cabbage Alley' and 'Rejuvenation', reinforced their distinctive, sinewy rhythms. Such expertise was also heard on many sessions, including those for Robert Palmer, Dr. John and Paul McCartney, while in 1975, the group supported the Rolling Stones on their North American tour.

Ripple. The group began working with writer / producer Big Dee Irwin. With Big Dee the band recorded 'I Don't Know What It Is But It Sure Is Funky' in 1975. The track became popular on the UK 'rare groove' scene a decade later. Ripple then switched to Salsoul where 'Sons Of The Gods' was released in 1977. That album included their Floyd Smith produced, Salsoul Records, disco classic 'The Beat Goes On' and their version of the Charles Earland tune 'Sons Of The Gods'. The album was arranged by Tommy Stewart ('Bump And Hustle Music').

Mandrill. I already started a thread on my favorite group of all times a while ago, but I couldnt resist mentioning them in between all those great names.

Miami. Miami were formed by Willie Clarke and featured vocalist Robert Moore. The group were utilised, on many sessions, by Willie Clarke and Clarence Reid for fellow Miami - based artists, including Little Beaver, George McCrae and Gwen McCrae. In 1974, their first release 'The Party Freaks' featured the sought after
track 'I Can See Through You'. 'Party Freaks' went on to chart in the U.S.A. 1976, brought the album 'Notorious' that contained the, much sought after, 'Kill That Roach'. This recording introduced strings and a horn section and introduced Jesus Gonzalez into the line-up. The album 'Miami' (containing a version of Otis Redding's 'I've Been Loving You Too Long') was less well received and the group soon were disbanded.

The New Birth. Formed by Tony Churchill and music-industry veteran Harvey Fuqua, New Birth was originally named the Nite-Liters. As the Nite-Liters, they enjoyed chart action with three Billboard R & B 100 hits, 'K-Jee,' 'Afro-Strut' and 'Pull Together.' Of the three, 'K-Jee' was the most successful, peaking at number 17 during a 13-week run. New Birth's first release was the Billboard R & B Top Ten single 'I Can Understand It.' (written by Bobby Womack) Led by Leslie Wilson's intense vocals and reminiscent of Womack, the
single zoomed up the charts, peaking at number four after only 12 weeks. In January of 1974 they released 'It's Been a Long Time,' one of their celebrated hits. It roamed the charts for 19 weeks, entering the Top Ten at number nine. That single was followed by the classic, soulful ballad 'Wildflower.'

People's Choice. formed by Frank Brunson in Philadelphia during the early 70's. Prior to the later identity, the band recorded one side, during the sixties entitled 'Savin My Love For You', which was big on the Northern Soul Scene. Signing to Philadelphia International Records (PIR), they worked with writer / producer Leon Huff (without Kenny Gamble on this occasion) on 'Do It Any Way You Wanna' (UK Top 40,1975), a Philadelphia International dance classic. The song was taken from 'Boogie Down U.S.A.' (1975). my favorite cut on that album: "Nursery rhymes".

Ramp. conceived in Cincinatti and released only one album. Featuring the female vocals of Sharon Matthews and Sibel Thrasher, the album was recorded in New York and California. The group were a vehicle for the songwriting talents of Roy Ayers and Edwin Birdsong. Released in 1977, the set featured a version of Roy Ayers' 'Everybody Loves The Sunshine' along with the 'rare groove' track 'Daylight'.

Minnie Riperton. A former singer with the Gems, Riperton recorded under the name Andrea Davis prior to joining the Rotary Connection. She remained with this black pop / psychedelic group between 1967 and
1970, before embarking on a solo career. In 1973, the singer began working with Wonderlove, Stevie Wonder's backing group. Two years later he returned this compliment, producing Riperton's 'Perfect
Angel', and contributing two original compositions to the selection. Minnie died from cancer in July 1979. It was reported that during her final days, Minnie had a bad reaction to the pain killing drugs administered to
her, so she was allowed to use marijuana to alleviate the situation.
"Inside my love" still drives me to tears.

Lonnie Liston Smith. He is somethimes confused with organist Dr. Lonnie Smith, keyboardist / pianist. Lonnie Liston Smith started out playing straight-ahead acoustic jazz before becoming better known for embracing fusion, crossover, soul and funk with his 1970's band the Cosmic Echoes. Smith was born in Richmond, Virginia, but it was in New York that Smith started getting a lot of work as a jazz pianist in the 1960's. Greatly influenced by McCoy Tyner but quite distinctive himself, Smith played acoustic piano as a sideman for Pharoah Sanders, Rahsaan Roland Kirk, Betty Carter and Gato Barbieri but turned to fusion when Miles Davis hired him as an electric keyboardist in the early 1970's. By 1973, Smith was ready to lead a band of his own and formed the Cosmic Echoes with his brother, singer Donald Smith. The improviser made his recording debut as a leader with 1973's 'Astral Traveling' and continued to fare well in the fusion / crossover realm with such imaginative gems as 1974's 'Cosmic Funk' and 1975's 'Expansions'. The atmospheric fusion, crossover, soul and funk that Smith played on his Cosmic Echoes dates of the 1970's had a very spiritual, mystic bent. If anyone bridged the gap between John Coltrane and Earth, Wind & Fire, it was Lonnie.

the Undisputed Truth. The band were assembled by the legendary Motown producer Norman Whitfield in 1970, as a vehicle for the studio experimentation he had already begun on singles by the Temptations and Edwin Starr. Joe Harris, an ever present member of the group, was originally teamed up with singers Billie Calvin and Brenda Evans, who had previously worked on the Four Tops 'Still Waters'. The group debuted with a stunning slice of psychedelic soul, 'Smiling Faces Sometimes', written by Whitfield with his regular lyricist, Barrett Strong. The song was an exercise in urban paranoia, widely interpreted as an
oblique comment on President Richard Nixon's administration, and it allowed Whitfield room to preview new studio techniques that he hoped to use on the Temptations releases.

peace out to soulwalkers!

I'm from Dayton and we had a sound of our own. Dayton had some of the greatest funk bands in music. The Ohio Players would come out with something and then Slave would do them one better. Then Lakeside would bring some jelly. When Roger and Zapp arrived things got even funkier. Heatwave would bring it too. There were also bands called Sun and Fazo from Dayton during this period that were funky. Shirley Murdock added some soulful singing to the mix too.

I agree with Prince when he says that each city had there own sound back in the day. Dayton was doing its thing, D.C. had its sound, Minneapolis, Chicago, etc. (I must say that Minneapolis had nothing on Dayton back in the day) That has all been lost with the advent of playlists and the destruction of local radio and record stores. If you went to a record store in Dayton, you would see records from those acts mentioned above in front of the store. Now you see the same CD's advertised in front no matter where you go in this country. They are telling us what to like. As a result, music has lost its influence and is dying.

I know people like Prince are optimistic that there will be a rebirth of music, but I doubt it. That bass line from Slide made many young people go out and get a Bass. Now, there is just a sample of a sample and the influence is lost. The next generation of so called musicians will be worse than the current crop. Something needs to be done.

How about coming back with some info on Betty Davis, the rauwchy sexy and original nasty girl?

jw1914 said:

now thats groovy! she's out there. she only did three albums, but the first two are unbeatable.

Listen to Betty Davis' song titled "Dedicated to the Press" on "Nasty Girl" album. Now datz funky.

Only the true funkateers know about these; Edwin Birdsong's "Supernatural" album with the cut "Rising Sign"

donnyenglish said:

Donny I TOTALLY AGREE WITH YOU IN YOUR LAST PARAGRAPH.

a lot of people would say to me something like "oh, you're stuck in the past"
NO I AM NOT
The problem is that the music from the late 60s/70s/early 80s is
SO SUPERIOR
to the SHIT that comes out now..
I have absolutely NO DESIRE to listen to most of today's music- no creativity, over-produced, sampled, drum machined
BULLSHIT.

As it's been said by many, D'Angelo is the closest thing out today to a real 70s soul singer/musician. He definitely has the talent, but he seems to be comfortable in.. 1 certain style.. I'd like to see him try some different things musically.. time will tell if that ever happens..


There are quite a few groups mentioned in the original thread here that I don't know..
I've got some homework to do.


As great as the funk of the 70s was, it's a little disappointing that it's not better known by the general public. That's due in no small part to the fact that in the 70s, radio was much more segregated, so many of the funk groups we love & appreciate, they got very little airplay on those few stations that would play (crossover) soul/r&b songs. The great thing about funk though, is that it never tries to crossover; you have to "get to it" (as George Clinton might say) & funk, at its most powerful, is something that can't nor should be watered down.

That's why funk in its purest form-
i.e., P-FUNK-
is the best thing.. once you get the funk in you, it's in you FOR LIFE!


Funk IS it's own reward!

I totally agree with you ...
the popularity of 70s funk you can measure by the number of replies on this thread... I think its not that people dont dig the music. they just dont know about it...

Thanks soulpower, since recently I knew almost nothing about 70s funk, I thought is was a disco era only for popular us black music.

soulpower said:

Question: which came first, Sugar Hill's "Rappers Delight" or Fatback's "King Tim III"?


Mandrill is SO darn underrated, it's just not funny. PFunk and EW&F OPENED shows for this group back in the early 70s. Their versatility is at least equal to both groups, but they never had any crossover hits like EW&F. Or Santana, for that matter. No matter, they were brilliant.


I don't think that song is urban paranoia, it's THE TRUTH.


A little aside here: Minnie Riperton's daughter (I can't remember her name at the moment) is one of the cast members of SNL.

Soulpower, you know anything about Cymande?
[This message was edited Fri Aug 2 13:51:44 PDT 2002 by Supernova]

Enjoying this Thread for Sure.Chocolate Milk I got a Best of on them&Play it alot.also SUN they are tight act.that had a Tight Slow Jam called "I Had a Choice".New Birth is tight as well.Instant Funk"Got My Mind made up(you can get it Girl",Mother's Finest with Joyce Kennedy is Bad as well&they were Funky.Mandrill are still going strong they mix alot of Styles along the lines of War Among Other Acts IMHO.FatBack Dropped there "King Tim 111" first.The Enchantments with "Glory" among others were Badd.Bloodstone"Natural High" Alone is a Gem IMHO.Foster Sylvers had Jams as well.Carl Calton had a Couple of Moments back in the day.Richard "Dimples Fields as well.Leon Haywood had a Good run as well.Best Known for "I wanna do something Freaky to you" which is the Main Groove for DR.Dre's "Ain't nothing but a G Thing".another famous Sample comes from the Band Kleer there Jam "Tonight" has been used alot.DJ Quik got the most out of it though overall IMHO.Billy Griffin took over the Miracles from Smokey&flippped the Script He hardly ever gets any due.Bunny Sigler a Very Talented Writer&Producer associated with Gamble&Huff on Philly International Records.Great Thread!!!

Supernova said:

yep, I got three of their albums on vinly (I think they made five). I guess they are some carrebian cats recording in london back in the days... they sure are funky, "brothers on the slide" is a classic. however, they miss the groove to be up there in my all time favorites.

I forgot to mention to more groups:

- rasputin's stash --- pretty ill funk from miami, they only did 2 albums
- 100 % pure Poison --- some US army dudes recording in germany back in 1974. classic album, especially
the cut "Windy C"

soulpower said:

I'm not familiar with a whole lot of their music, but the few songs I have heard I like. Although...it sounds very dated, and I don't remember hearing them as a kid.

Here are some underrated funk bands that I really like...


***Instant Funk---Remember their 1979 hit "I Got My Mind Made Up"? It has that killer hook and memorable bassline.

***Sun---Their big hit was 1977's "Sun Is Here",and the album track "I Had A Choice".In 1976,they burst onto the scene with the hit "Wanna Make Love (Flick My Bic)",the first song ever to feature Roger "Zapp" Troutman!.Check out other killer jams like "Radiation Level" and "Baby,I Confess".

***Mass Production---Y'all remember the 1979 smash "Firecracker".That was da bomb back then!

***Skyy---In the fall of 1981,they hit big with the hit "Call Me".Other great songs include "Let's Celebrate"(1981),"High"(1980) and "First Time Around"(1979).

***Pleasure---Known for their bass-heavy 1979 jam "Glide",they also gave us the infectious "Let's Dance"(1976).

***T-Connection---Their music was probably more Disco than funk,but they were a great band.Their big hit was "Do What You Wanna Do" in 1977,but my fav has always been the Ray Parker Jr.-like ballad "Best Of My Love" in 1982.

***The Blackbyrds---You know these guys for their breezy spring 1975 smash "Walking In Rhythm",but they could funk it up a bit too.Songs like "Happy Music"(1976) and "Rock Creek Park"(1976) are funk classsics.

***Brass Construction---Put on their summer 1976 hit "Movin" and it will take you back to the days when funk ruled the airwaves.

***The New Birth---Remember their 1972 remake of Bobby Womack's "I Can Understand It"? Too funky!

soulpower said:

2 classic cuts by Cymande "bra... and The Message"
i have the original singles on Janus Records... classics