Solomon Burke - I Wish I Knew 1968 Atlantic lp OG Mono RARE Soul Funk Breaks NM

$

43

Welcome to our Summer 2026 "Classic / Golden" era Soul/Funk/Rare Groove lp Part 1 sale, we cover some early ground with a few pre-1967 releases, largely the vast majority are from 1968-1974, mostly concentrated in the early-mid 1970's,  no modern reissues! WE COMBINE SHIPPING! -(Just kindly wait till end of auction for invoice :)
We have so many, that Part 2 will be even more, bringing tons of rare "Golden Era Soul/Funk", coming soon!

60 lp's all originals , many have soundclips, which are from the actual record :)

This week features a really nice curated slab of rare funk, soul lp's from the "classic golden era" or as Thes One put it "Vietnam War Era", we have a handful pre-dating 1967, the vast majority being concentrated in the early 70's, beginning with a very nice OG 1st press of the legendary 1973 GSF Records lp "Skull Snaps", a minty Funkadelic legendary Psych-Funk original 1970 Westbound lp "Free Your Mind and Your A** Will Follow", Allen Toussaint's 1975 Conceptual Psychedelic Funk masterpiece rarity "Southern Nights" lp, the insanely rare Hawaiian Private Press 1970 lp by Gordon Broad (Heavy Soul/Funk!), an unknown South Korean Psych Funk lp on Jigu Records, the first 3 Sylvers lp's on Pride, yep "I, II, and III", James Brown "The Payback" original double lp, Jimmy Castor Bunch "It's Just Begun" - minty fresh, everything from New Birth, Ace Spectrum, White Heat, some badddd rare heavy open drum breaks, instrumental rare-groove style funk, CCM Funk / Psych Funk Rock "First Gear 1972 Myrrh lp" for example....Lorraine Ellison's original OG 1st press 1969 "Stay With Me" on Warner Bros.-Seven Arts Records (not the 1971 version that is more common, and on thinner vinyl!!), we got heavy representatives on labels from ATCO, Hot Wax, Buddah, Cadet, Westbound, AVCO, All Platinum, RCA, Invictus, Gordy, Playboy, MCA, Atlantic, Pride MGM, Capitol, to Private Press world, and so much more :) 

ASSISTIVE NOTE:
To give the best  "map" for this sale, we'll have 21 leading off to give somewhat of a highlight of each area of items, then tending towards Chronological, than Stylistic in what we hope will be a nice ordering, the kind as fellow crate-diggers, we would be stoked to see.... If you want to view how we ordered it up, go to sort by "Ending Soonest", as listed newest will be the tail end & ending earliest is the beginning (if you filter by "ending soonest", you'll get the layout!), we hope this might help :)

**Note on grading: We have been proud to send thousands of records to delighted customers, but there is always room for improvement, we want to continually strive to be as accurate, honest, and detailed as possible. These records that have been collected and loved over the years, coming from a collector, one who listens to the records, enjoys the music, we are only growing more meticulous in our visual aspect of grading the vinyl, while also maintaining a balanced emphasis on the sound quality, utilizing sound clips (we do not manipulate them whatsoever, and we never will!), full front to back recent thorough listenings, and for the covers to use detailed photos, write detailed aspects for the grade, we want people to know exactly what they're getting, as collectors, lovers of music, we promise to always carry ourselves with integrity, we're in the business of delighting people, to treat others as the best experiences we've had as buyers, and all of our items are guaranteed. We won't stop growing, learning, and listening. A very special warm thank you to all our incredible return "customers", we really think of you all as fellow friends in vinyl, and if this is your first time bidding with us, we hope our "record" speaks for itself, ensuring a secure feeling to bid with confidence, thank you all, truly together we make this community one that spreads the love, sharing in this special thing of all of ours :) ***

* After this week's auction, (In no particular order) we have in the auction pipeline:
Classic Golden Era Soul Funk Part II, nearly 80+ lp's, top shelf stuff.....
2nd Modern Soul / Gospel / Boogie / AOR, Part "II"
More Deep Funk / Soul 45rpm 7", as well as AOR / Power Pop / Rock 45rpm 7"
A giant stash of rare Open Drum Breaks, emanating from a variety of groovy genres, the kind of lps both dope / under the radar sale!
A few more cooking, not to mention our exciting, anticipated:
Part 4 "Giant Jazz"; jazz funk, spiritual, fusion, synth jazz underground, etc. sale lp's

*^(Each are loaded with some of the rarest, high end stuff, plenty that haven't shown up in years, unknown mind-blowers, Grail Pieces, like always, all original editions!)
We'd be honored if you'd consider saving us as a favorite seller :)***

All soundclips used are unedited directly from the item up for sale :). See below for detailed grading!
***Everything is 100% guaranteed! We've sold over 1,500+ records in the past year alone, with 100% positive feedback, bid with confidence :)

Feel free to message any questions!

*Note: Any Item that does not have a soundclip, feel free to message us, and we can make one for you :) 

**Note: for items with multiple players, the title of track is above each player; the player enables scrolling through!**

Soundclip info: A2 "Get Out Of My Life Woman" -(Ultra thick open drum breaks on this Allen Toussaint cover!!)    
Soundclip:  Update your internet browser to latest version in order to play audio clip.

Media Grade:  NM (stellar, top copy, peep the soundclips!)
Sleeve Grade:  EX (DJ Promo Mono sticker on front cover, contains original Atlantic company inner sleeve, exceptionally sharp copy, peep the soundclips!)
Year / Label / Catalogue #:   1968  /  Atlantic  / SD 8185 "Sample Copy Not For Sale" (1st Press, Mono, White Label Promo) 
Brief Comments: I learned early on that "Get Out Of My Life Woman", and not always but frequently "Put Your Hand In The Hand" covers were drum break gold. There was a site for crate diggers way back in the day, where they had uploaded like 300 different drum breaks, mostly UBB, but also some not on Ultimate Breaks & Beats, with a clip for each, I memorized that..... We got the Lee Dorsey up on the UK Topline "Working In The Coalmine" version, a fantastic way to get it without breaking the bank....but anyhow, over the years, I've had or have versions by George Semper (one of the dopest), Joe Williams & His Orchestra (the jazziest), Bill Cosby, Iron Butterfly, this Alaskan private press Garage / Soul / Rock lp (no open drum break, but still a dope cover!), Grassella Oliphant's - also on Atlantic, "The Fireballs" on their 1969 ATCO "Come On, React" lp, which is probably one of the dopest ones that few know about, Joe Tex's version (also Atlantic), the dope Ska Funk Soul version by Byron Lee & The Dragonaires, thanks to a 70's repress I've had Q65 (Dutch "Freakbeat") 1966 version, Chuck Jackson's version, Jimmy Smith's soul-jazz / jazz-funk version, a couple of the Garage Rock 45 only one's, and some private press versions, also the Allen Toussaint 1968 on Bell, 45 7".....
I would have to say my two favorite versions, are the Allen Toussaint 45 (he did write, compose it, after all...), and this one right here by Solomon Burke, because unlike a lot of them, were you just buying for the break, the whole track is done with Burke's own twist, the vocals alone have been sampled by Dr. Dre on "The Chronic (Intro)", Kanye West "Gotta Posse", and the drum break itself? It's on from Doom's "KMD" on "Who Me"? to Large Professor for Akinyele's 1993 classic lp on the track "No Exit", Funkdoobiest "Freak Mode" off their ill 93 "Which Doobie U Be? lp, RZA, Westside Gunn (multiple tracks), A$AP Rocky, Odd Future, Rick Rubin for Eminem on "So Far", even Stezo, who through Paul C was the first to rhyme over "Skull Snaps - It's A New Day", on his 1994 indie single "Bop Ya Headz" -(Random Rap folks, you gotta check that one out!). It's the kind of drum break that is so boom-bap ready, looped or chopped, it's perfect 90's Golden Age, literal "BOOM, BAP".
Now, I've had a few Solomon Burke lp's, his 1972 OST "Cool Breeze", his 1969 Bell lp "Proud Mary", his MGM "We're Almost Home", and ABC Dunhill "I Have A Dream", I'll be honest I had a chance for King Solomon, his next Atlantic follow-up, but I passed on it, after giving it a listen at the station, of course if it'd been a couple bucks I'd have gone for it, but I wasn't feeling it at the time, it's been so many years, I need to listen at least to clips of that one again..... My personal favorite, because I love soundtracks is "Cool Breeze", I will say this is only a hair away, ultimately probably the better more rounded album, and Solomon Burke just nails this whole record, killing it on covers of Joe Tex, Ray Charles, Ivory Joe Hunter, Willie Mitchell, even John D. Loudermilk! His version of "By The Time I Get To Phoenix" is up there, Isaac Hayes is my own personal favorite rendition, but Burke blows the funk & soul into it, until it's like his own!
Burke had come back from a 4 year LP recording hiatus (he cut a long string of 45's in the intervening period), his album prior to this, was 1964 "Rock N' Soul" lp on Atlantic, and a lot changed, shifted, 1968 is practically unrecognizable, but the Ertegun Brothers asked Tom Dowd his thoughts, Dowd was so blown over, he insisted he produce it, Burke was excited to have such a champion, veteran in his corner, Arif Mardin does the arrangements so you know it's dope....Recorded in Memphis, TN! Don't call it comeback, because he never went anywhere, but "I Wish I Knew" kicked off the next era for Burke, his ultra funky era, and this is the shining beacon of that......(**Louise Williams "Bishop" of WDAS Radio, Philadelphia does the linear notes, despite Sam Cooke having been dead for 4 years, Williams, she throws shade, verbatim "-even before the great "Master Of Soul" Sam Cooke. Solomon grew up in church and was able to bring tears to the eyes of those...") - I have to imagine, Burke himself would have not looked good if he said that, but basically she was helping an unstated goal of snatching Sam Cooke's crown to declare Solomon Burke, and right at the end "King Solomon Burke" - great father of soul". It seems very quixotic, as they have different voices, and only somewhat overlapping styles. It would go even further, by titling the next album "King Solomon" also on Atlantic. 
When Atlantic initially signed him in 1960, due to his Gospel background, he refused to utilize the term "Rhythm & Blues" which had a negative connotation in the African-American Church Elders of the time, so they instead went with "Soul", singing from the soul, which the Church Elders at Burke's church agreed to (same music, just classified as "Soul"), which probably set it off, because Sam Cooke, also of Gospel background was using "Soul", Burke was obscure in comparison, so Cooke was crowned, lauded as "Mr. Soul", "The King Of Soul". To be fair, Cooke earned that title, he was enjoying far more success, popularity then Burke was, and here's where the ** by Louise Williams comes in. There is no woman, Louise Williams, that is in fact Kae "Loudmouth" Williams, longtime KDAS Philadelphia DJ, and manager of Solomon Burke. Williams especially wanted to burn up Sam Cooke, because technically, it seems most likely that Solomon Burke was the first to actively use the term "Soul", he would wear a crown, cape (there's an amazing true story, of James Brown in 1965, paying Burke $7,500, likely in today's purchasing power, so more like $400-$600, to go on stage, not perform, and hand over the Cape, and Crown to James Brown; Burke didn't do it, knowing Brown, I have doubts Burke got paid, no way Brown is handing over a check beforehand, and even if he did, one Hal Neely call to the bank, and that check is confetti....), In many ways, Solomon Burke was like the Notorious B.I.G. of his day, multi-layered, a specific flow that was unique (a "Tricky Singer" he was called, because really only he could what he did), a Giant Persona, a somewhat shady manager, and no fear..... I mean imagine anyone trying to play James Brown, not even the JB's got away with it (causing Bootsy's departure, and P.Funk's birth), no way any other dude makes it out of that venue, without meeting the business end of a 2 by 4 "The Big Payback", and having the cape forcefully removed, along with the Crown, I have to imagine Burke (all 300 lbs.) and likely his own entourage, just not intimidated to pull that stunt. But James Brown, went with "Godfather Of Soul", and "Soul Brother #1" as monikers, and it might have been one thing had Cooke been alive, but it's a pyrrhic victory to snatch a dead man's "Crown" in the metaphorical, title sense "King Of Soul". It's probably why it didn't stick, but he definitely belongs in that special pantheon of greatness, alongside Sam Cooke, Otis Redding, Wilson Pickett (Queen of Soul Aretha Franklin).
But Burke never enjoyed the popularity, mega-stardom like Cooke, Redding, Pickett, Aretha Franklin, James Brown, and after this album and "King Solomon" failed to gain traction, Burke left Atlantic, going from Bell, to MGM, to ABC Dunhill, and then back to Gospel music, recording on Savoy. 
I think this album proves that Burke doesn't have to "compete", greatness is in the person, not the title, and perhaps no other lp captures his greatness like this one, a Gospel singing brother from Philly, on a NYC label recording in Memphis, (likely Willie Mitchell, Hi Records, it doesn't specify, but based on the credits for B3, B4, it seems clear), covering the legend of New Orleans (Allen Toussaint), the funky master Joe Tex, Ray Charles, even showing how he brings it to Jim Webb on "By The Time I Get To Phoenix" - reminds me of Biggie, how he did it to Herb Alpert using the "Rise" sample.....the proof of greatness is here, and it's one of the best soul/funk lp's of the era, 
Long live, the echoes of the Notorious Solomon Burke, undeterred, unbent, unbroken, and Soul / Funk, any reading of it, is incomplete without our man, a legend, my hope is he's doing a duet with Sam Cooke up there in the sky, as friends, as soul brothers, with James Brown, Otis Redding, Wilson Pickett, and Aretha Franklin nodding in the knowing agreement, seeing that genius unleashed together....
Peep the soundclips :)





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For our record grading, we stand by the merits outlined in the scale below, anything VG or below will have a detailed explanation in brackets next to the grade.
For sleeves, we will mention anytime there is split, or defect not visible in the photos in brackets next to the grade, otherwise we refer to the photos for the merit of the grade. Of course any questions, concerns, are always welcome :) 
Our media grading scale is as follows: [*Quick note, our VPI is still in storage on the other side of the US, we do brush clean many  items carefully, but we have to prioritize, we won't leave anyone stranded with a filthy record, only "filthy" good! We don't factor dust particles into the grading]
NM = Essentially a pristine album, like new, rarely used.
EX = Under bright light if there is any scuffs or mark, which will be inaudible, most collectors and sellers would tend to consider it closer to NM, EX is also the grade others might call VG++ under the same level of conservative scrutiny.
VG+ = More then a small handful of scuffs, light marks, nothing feelable, will have high-gloss, a thoroughly enjoyable copy that may only have tiny moments of barely perceptible surface noise overpowered by the music. Our VG+ will satisfy the vast majority of collectors as a nice keeper copy, as collector's ourselves for nearly two decades, this grade is aimed to be a great keeper. Note if say the record has a light DNAP warp, but otherwise is NM, we will automatically put it to VG+ and detail that. Another scenario is if a copy plays at a solid EX, but visually is VG, the composite grade will be VG+, and detailed as such.
VG = More hairlines, more marks, maybe a few visible scratches, no more then two feelable scratches (which automatically lowers to VG-), there likely will be surface noise, but will play through, still being an enjoyable copy, the audio quality will satisfy most collector's (the golden rule: if it doesn't satisfy us, it won't be VG), if a record is otherwise EX, but has a slight momentary skip, where 99% of the record is EX, we will note that, and put it at VG. Usually will retain a nice gloss.
VG- = More Scratches than VG, surface noise will jump out more, it be overpowered for longer stretches, or compete with the music in places, it will likely play all the way through on most turntables, a copy that you can still get a decent play enjoyment from.
G+ = Lots of scratches, deeper ones, surface noise now mostly overpowers or competes with the music. It may skip in some places. We don't tend to sell G+ copies, unless the rarity is so great, and that will be precisely detailed.
Thrashed = Pretty much a "Theoretical Grade" for us, it be for all intents & purposes virtually unplayable, it would be for display purposes, or perhaps if you needed the cover but not the record. It's "theoretical" because so far we haven't sold or identified anything intended to sell at this bottom level.
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Kindly,
-Alec :D
&
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