Kay-Dee Records presents KD015 Soul Severes I Got It
The Soul Severes were a very short lived group of nine young & hungry musicians from the St. Nicolas Houses in Harlem, New York City. Most notably, the group counted a young Patrick Adams as a member. Adams arranged and played keyboards on “I Got It” and it was his first and the group’s only recording. The group’s sole single was made just before members agreed to trade in their Soul Severes name for a more immediately promising identity as Black Ivory’s band. So, although short lived and almost unrecorded, “I Got It” exhibits the extent to which Severes had it, showcasing the influence of Kool & The Gang’s archetype among a yet to be tallied number of obscure Tri-Sate funk acts. Horn players included a Ramon Sweat, none other than Keith Sweat’s younger brother… and so fittingly, “I Got It” anticipates the New Jack Swing era in a big way: sounding as much like a lost Beatnuts instrumental as it does a funk 45 from 1969. Wherever your ear might place them, Kenny Dope’s edit of these two lost sides is a heavy, heavy sound - don’t miss it this time around.
The Soul Severes were a very short lived group of nine young & hungry musicians from the St. Nicolas Houses in Harlem, New York City. Most notably, the group counted a young Patrick Adams as a member. Adams arranged and played keyboards on “I Got It” and it was his first and the group’s only recording. The group’s sole single was made just before members agreed to trade in their Soul Severes name for a more immediately promising identity as Black Ivory’s band. So, although short lived and almost unrecorded, “I Got It” exhibits the extent to which Severes had it, showcasing the influence of Kool & The Gang’s archetype among a yet to be tallied number of obscure Tri-Sate funk acts. Horn players included a Ramon Sweat, none other than Keith Sweat’s younger brother… and so fittingly, “I Got It” anticipates the New Jack Swing era in a big way: sounding as much like a lost Beatnuts instrumental as it does a funk 45 from 1969. Wherever your ear might place them, Kenny Dope’s edit of these two lost sides is a heavy, heavy sound - don’t miss it this time around.
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