#Ray Charles Birth Of Soul Rar full#

The title cut 'Hotel Sheet' has this wonderful popping moogy sound that's very nice – and other tracks include 'Funky Disco Party', 'Shar', 'Hi Mom, Hi Al', and 'Get Right On Top'.

#Ray Charles Birth Of Soul Rar full#

The set features full arrangements from Paul Riser, orchestrations from Gordon Staples, and the whole thing was recorded at the Marvin Gaye studios – which you can almost hear in Ashford's surprisingly great vocals. One of the coolest club records ever cut – and one with a great gimmick too! That gimmick is the 'hotel sheet' – an instrument created by percussionist Jack Ashford, which is a light piece of metal that's snapped back and worth to create these cool wibbly, wobbly waves of sound – almost like a moog at times, which gives some of these tracks a bit of a P&P Records vibe! Ashford was a member of The Funk Brothers – and a percussionist on countless classic Motown sessions – but this album was recorded in LA with a sweet electric groove, and a mix of strings and funk that almost rivals Jack's only other full album – a rare blacksploitation soundtrack. There's some vocals on the record, but almost more of a focus on the instrumentation overall – and titles include 'Can I Help You', 'Love Fades', 'Trouble Will Remain', 'We've Come A Long Way', 'Liberty', 'Mister President', 'Free Your Mind', 'We Have Love', and 'Lord Help Me'. The material was all recorded on two dates in 1973 – but only issued here for the first time – and together, the tracks are a great example of a hip group from the underground, really letting loose with a great sense of freedom. Rare funk from the Indy scene of the early 70s – the long-overdue release of material recorded by a really hard-jamming, horn-heavy combo! Amnesty have a sound that's awash in the best large group influences of the time – a bit of Earth Wind & Fire, a bit of Parliament/ Funkadelic, but also a grittier, more guitar-based groove at times too – one that rumbles heavily at the bottom of the rhythms, with a sound that's like Norman Whitfield-era Motown, taken to much greater extremes! There's actually a lot more Detroit going on in the work than Indy – but the horns also have a jazzier, more open-ended quality too – not just parts penned for simple funky rhythms, but ones that show some influence from the more righteous side of the jazz spectrum.