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Kearney Barton

Rate It! Avg: 4.5 (52 ratings)
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Kearney Barton album cover
01
Babyback
Artist: Wheedle's Groove, Robbie Hill, Ron Buford
4:42
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02
H.O.E.
Artist: Wheedle's Groove, Ron Buford, Ural Thomas
2:42
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03
Jesus Christ Pose
Artist: Wheedle's Groove, Pat Wright & Total Experience Gospel Choir
3:32
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04
Humpty Dumpty
Artist: Wheedle's Groove, Overton Berry
4:05
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05
Everything Good Is Bad
Artist: Wheedle's Groove, Broham
4:55
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06
Rainy Sea
Artist: Wheedle's Groove, Overton Berry, Robbie Hill
4:13
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07
Sea of Grass
Artist: Wheedle's Groove, Robbie Hill
3:38
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08
Fools Gold
Artist: Wheedle's Groove, Calvin Law, Robbie Hill
5:18
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09
Baddest
Artist: Wheedle's Groove, Johnny Horn
4:15
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Album Information
EDITOR'S PICK

Total Tracks: 9   Total Length: 37:20

Find a problem with a track? Let us know.

Wondering Sound

Review 1

08.25.09
Wheedle's Groove, Kearney Barton
2009 | Label: Light In The Attic / The Orchard

Don’t call it a comeback; they’ve been here for years. “Here” being Seattle, and “they” being the players who feature on the excellent 2004 collection Wheedle’s Groove: Seattle’s Finest in Funk & Soul 1965-75, which showcased the mostly forgotten (and often quite good) R&B acts from the Emerald City. So for Light in the Attic, the hometown label that put the compilation out, re-connecting with a number of those same players and singers was… read more »

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new funk

WL

I like this all the way. track 1 take's you back to the disco.

user avatar

New trousers please....

atdotslash

...cos these ones are spent.This LP is crisp, fresh and all brand new. Stick a fork in it cos it's done. The Calvin Law "Fools Gold" cover is immense.....so good I was really confused as to why I knew all the words to a song that I'd never heard before and then it hit me. Add a pinch of Cymande, 2 ounces of Positive Force, 1 pint of the Meters and a dash of Sir Joe Quartermain....now bring that up to a boil and you've got Wheedle's Groove. Outstanding.

user avatar

Just as good as the first

walden333

If you enjoyed the compilation collection, this album will surely please. There are some cuts here that feel brand new, and some that feel like they should have been on the first CD with the dusty classics. The Soundgarden cover is truly inspired - make sure to check it out.

They Say All Music Guide

For the uninitiated, Kearney Barton is a veteran recording engineer from the Pacific Northwest whose résumé runs the gamut from classical audiophile discs to classic over-the-top garage punk singles from the Sonics and the Wailers. Barton also recorded plenty of local funk and soul acts at his Seattle studio, Audio Recording, and a number of rare sides he cut later popped up on the 2004 compilation Wheedle’s Groove: Seattle’s Finest in Funk and Soul 1965-75. The compilation generated enough interest in Seattle’s old-school R&B scene that a number of acts reunited for new sessions at Barton’s studio, and this follow-up reveals these experienced funkateers haven’t lost their touch with the passage of time. The mood of many of these tracks is laid back, but the bass and drums lay out potent grooves even on fusion-styled numbers like Overton Berry’s “Humpty Dumpty” and Johnny Horn’s “Baddest,” and when the bands lock into something hot, such as Ron Buford’s “H.O.E.,” you’d be hard-pressed to imagine that most of the folks on this album are nearing eligibility for Social Security. Audio Recording looks like a spectacular mess in the cover photos, but Barton has given this disc a rich and satisfying sound, enough so that it doesn’t seem quite so odd that his name has been chosen as the title (though a few Sonics fans might be a bit surprised by this stuff). And even if a down-and-dirty funk remake of Soundgarden’s “Jesus Christ Pose” with a gospel choir on the side sounds like a bad joke, Pastor Pat Wright’s passionate take on the song will make you a believer, and Broham’s “Everything Good Is Bad” is a cheating song that should have been a radio hit back in the day. This is a joyous and soulful reunion for the Wheedle’s Groove crew, and most of these tracks are sharp enough to suggest many of these acts ought to cut albums of their own. – Mark Deming

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