Various ‘Feeling Nice, Vol. 3’ (Tramp) 3/5

feeling-nice-vol3Following on from Tramp’s compilation of rare funk releases, Feeling Nice Vol. 3 continues where the previous two volumes left off and is another collection of late 1960s and early 1970s funk records that documents the somewhat endless supply of funk titles from this era.
On the record collecting scene, the appetite for rare funk 45s has somewhat diminished over the last decade or so and been replaced with the search for obscure boogie and disco 12”s, unknown afro beat and rare spiritual jazz LPs, but the raw funk scene is still healthy and Vol. 3 again showcases some lesser known records, many being very expensive in their original form.
Here, there are 17 cuts in total with 12 vocal tracks and five instrumentals. Most are quite unknown records outside of the rare funk scene, with only the classic ‘Sad Chicken’ by Leroy and the Drivers being a quite obvious addition to the album and is featured on other numerous funk comps. The others are a mix of drum heavy mid and up-tempo funk numbers including a string of punchy break beats, infectious vocals chants, swelling Hammond organ parts and chunky guitar rhythms.
Specific highlights include the Miami Funk of Clarence Reid’s ‘I Get My Kicks’ from 1971, Nadine Brown’s ‘Leave Me Alone’, a £1000+ rarity on its original pressing (both previously reissued on Tramp Records 7”), and something that I’ve never heard before, Walt Bolen’s ‘Breaking Out’, a funky Prestige sounding groover that ticks all the right funk boxes. But as like most funk compilations, there’s nothing musically ground breaking here and this album stays very much within the confides of rare funk 45 territory, but all are well chosen and possess that raw funk energy from the period.
It’s now been over 20 years since the first wave of rare funk compilations first emerged in the beginning of the 1990s, with the Pure series from France, the ground breaking Nuggets albums and California’s Luv N’ Haight compilations provided the world with an exposé on the amount of unknown and high quality black music available around the world. And a generation later, Germany’s Tramp Records continues that tradition of discovering lost, forgotten or unknown records.

Damian Wilkes