Kearney Barton

Editorial Reviews

All Music Guide - Mark Deming
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 ...
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Editorial Reviews

All Music Guide - Mark Deming
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.
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Product Details

  • Release Date: 8/18/2009
  • Label: Light In The Attic
  • UPC: 826853004329
  • Catalog Number: 43
  • Sales rank: 231,112

Tracks

Disc 1
  1. 1 Babyback - Kearney Barton (4:42)
  2. 2 H.O.E. - Kearney Barton (2:42)
  3. 3 Jesus Christ Pose - Kearney Barton (3:32)
  4. 4 Humpty Dumpty - Kearney Barton (4:05)
  5. 5 Everything Good Is Bad - Kearney Barton (4:55)
  6. 6 Rainy Sea - Kearney Barton (4:13)
  7. 7 Sea of Grass - Kearney Barton (3:38)
  8. 8 Fools Gold - Kearney Barton (5:18)
  9. 9 Baddest - Kearney Barton (4:15)
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Album Credits

Performance Credits
Wheedle's Groove Primary Artist
Tony Gable Percussion
Jim Horn Baritone Saxophone
Johnny Horn Bass, Guitar, Keyboards
Charles Rose Trombone
Harvey Thompson Tenor Saxophone
Mike Stone Drums
Quintin Ware Trumpet
Stefan Nelson fender rhodes, Wurlitzer
Andy Sells Drums
Overton Berry Piano
Ron Buford Hammond Organ
Curtis Hammond Jr. Vocals
Larry Hammond Vocals
Leonard Hammond Percussion, Vocals
Calvin Law Hammond Organ, Vocals
Bob Lovelace Bass
Gregory Davison Piano, Hammond Organ, Moog Synthesizer, Wurlitzer
Bob Lovelace Bass
Technical Credits
Jack Endino Engineer
Kearney Barton Engineer
Jim Horn Horn Arrangements
Johnny Horn Producer, Music Direction
Mell Dettmer Mastering
Josh Wright Executive Producer
Chris Ferraro Executive Producer
Vincent Cook Graphic Design
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