Perhaps these are sides that aren't quite lost gems, as they tend to blend together into one heady party instead of stand out on their own, but this is all pretty hard to resist, as it's seriously funky and seriously fun - maybe not quintessentially New Orleans, at least according to the traditional definition, but certainly it's quintessentially funky.īoth Toussaint and the Meters are all over New Orleans Funk, Volume 2, a new compilation of rare-ish New Orleans soul, R&B, and funk sides, and a.

Big Stuff,' but they all have sides that are easy to enjoy, as do the other obscure acts here. To most listeners, this may be the first time they hear the names or or Joe Chopper or Jimmy Hicks, who serves up an answer song to Jean Wright with his 'I'm Mr. They slide imperceptibly between the album's collection of rarities from heavy-hitters - a dazzling, colorful 'Tequila' from, 'Four Corners' from, doing a ' that strips away 's trademarked beat, a typically cheerful, irresistible vamp from, a wah-wah drenched jam called 'Street Parade' from, a really funky 'The Rubber Band' from - and just plain obscurities, some by relatively-well known cult favorites like but many are from names that will only be known by hardcore aficionados. Both of these selections are sharply chosen, as the clusters of polyrhythms on 'Hey Bo' and the sly funky electric piano on 'Fortune Teller' point the way toward the dense, snazzy, stylish funk emanating from New Orleans in the late '60s and '70s. Not that is devoted entirely to unearthed gems from the '70s: it has several sides from the city's '60s heyday, as this digs all the way back to 1956 for 's 'Hey Bo' and even bends Soul Jazz's penchant for including nothing but obscurities to serve up 's stone cold classic 'Fortune Teller,' deservedly a staple on most New Orleans R&B collections.

Like its predecessor, the long-awaited sequel to Soul Jazz's first collection of - appeared eight years earlier, in 2000 - concentrates on the funkier side of the Crescent City, downplaying its signature R&B shuffle in favor of singles that sound more conventionally funky, at least in the '70s sense of the word.

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