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The Counts

In the first ’70s, the boundaries of black pop became even more fluid. Spirit and funk could intermingle with jazz, hard rock and roll, psychedelia, and vocalist/songwriting. The Matters were not one of the most exceptional clothes that brewed these affects together; to begin with, they never trapped to anybody mixture long more than enough for listeners to obtain a handle in the group. These were, nevertheless, emblematic from the currents sweeping through R&B at that time, even if indeed they had been barely as innovative as, state, Funkadelic, or Marvin Gaye in his WHAT’S HAPPENING period. Supplying both vocal and instrumental paths, the group could lay out loping, jazzy instrumental grooves large in the sax and body organ. Within a heartbeat, they could change gears into spacy novelties like “Flies Over Watermelon!” and “The Munchies.” Among there have been some sweet spirit ballads, and a good sop towards the mainstream using a cover of Carole King’s “Jazzman.” Originally a Detroit-based sextet, the Matters’ initial LP was an instrumental outing on Cotillion, with observed Michigan manufacturer Ollie McLaughlin acquiring the co-writing credits on every one of the songs. A couple of years afterwards, the group shifted to Atlanta, paring right down to a quartet by enough time they documented the Love Indication record for the Aware label in 1973. An extended lineup documented the Funk Pump record for the same business in 1975; both Aware albums shaped the foundation for Compact disc reissues from the Counts’ function in the mid-’90s, when their make of soul-funk-jazz was getting hip again.

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