Two Miles High Music

A collection of this nature can only exist in hindsight. "Gospel Funk" is a genre in the same way that deep soul or acid folk are, created by collectors and enthusiasts as a way to define a subsection of another genre. There aren't any labels, artists, or producers that focused strictly on funky gospel music; rather, there were a couple hundred groups that had a funkier number in their repertoire. The Numero Group has spent the last year scouring LPs and 45s for tracks that fit this bill, and have collected 18 standouts from this newly minted genre. The album is a mix of primitive choirs, spacious breaks, congas, elderly rappers impersonating the devil, cast recordings, thumping bass, and JB impressionists, all with a heavy slathering of gospel gravy.

Good God! A Gospel Funk Hymnal is a sweet selection of African-American gospel with mostly obscure acts from the late 1960s and early 1970s. This is that era of gospel that gave us Andrea Crouch and the Disciples and the crossover hits from the Staple Singers. Decidedly well after gospel's "Golden Age," this was a time when black gospel--which of course was the primary influence on soul music--was in turn itself influenced by soul and funk. These selections are exceptionally funky, and if you've never heard Trevor Dandy, Voices of Conquest or Preacher and the Saints before, you'll be more than glad when you have. This compilation might well steer neophytes toward the myriad pleasures of gospel, which remains America's most neglected and misunderstood music and the roots for far more than it gets credit. Anyway, these jams just might have you praising the lord and shaking your behind at the same time. That's the point, in case you missed it. --Mike McGonigal

The Numero Group's 2006 release Good God! A Gospel Funk Hymnal examined what seemed to be a conundrum: gospel singers performing pious gospel songs, and devoutly, but doing so amid hot, sweaty, earthy sounds. Four years later, Numero returns with not quite a New Testament, rather a re-examination of a weighty tome. Born Again Funk lends new ears to a joyful strain of American composers and performers unafraid of expressing their devotion with both inspiration and invention.

In 1959, a woman by the name of Carmen Murphy attended a Good Friday mass in her home town of Detroit as she did every year. Ms. Murphy, the proprietor of the city's first salon for black women, known as House of Beauty, found herself particularly moved by the musical performances that evening. In fact, she was so inspired that she decided to convert the basement of her salon into a rehearsal space for local gospel acts. Later that year, she funded the recording of local gospel star Rev. James Cleveland, and House of Beauty Records was born. Over the years House of Beauty was owned and operated by a number of different parent companies. It was during it's time at Scepter Records in New York ('64-'76) that the label grew both commercially and creatively. It slowly transformed from a rigidly traditional label, mostly featuring a capella quartets and choirs, to a company with eclectic tastes and broader musical horizons. Throughout the 70s the label became more accepting of secular influence on its music and slowly but surely, some of the recordings became straight up funky. In the fall of 2008 Secret Stash began working with a local business man who acquired the House of Beauty catalog some years back. Our mission was to sort through his mountain of master tapes containing over 3,000 tracks in search of rare funky and soulful gems for vinyl reissue. After hundreds of hours we settled on a short list of material to press up on wax. Gospel Funk may sound like an oxymoron to some, however, in the late 60s and throughout the 70s, many Gospel artists began moving their sound in a funkier direction. When you think about it, it's really not that hard to imagine. Most of us know that soul music is deeply rooted in gospel. Sam Cooke, Aretha Franklin, Al Green, and even James Brown all hail from the world of gospel music. Is it really unimaginable that the gospel community would latch onto the progression of soul music that took place in the secular market? This collection of Gospel Funk is raw, gritty, and packed full of breaks. The compositions are tastefully simple, the production is organic, and the music is undeniably funky.

The Numero Group's 2006 release Good God! A Gospel Funk Hymnal examined what seemed to be a conundrum: gospel singers performing pious gospel songs, and devoutly, but doing so amid hot, sweaty, earthy sounds. Four years later, Numero returns with not quite a New Testament, rather a re-examination of a weighty tome. Born Again Funk lends new ears to a joyful strain of American composers and performers unafraid of expressing their devotion with both inspiration and invention.