Billed as an EP, Money Talks is one of those albums that you’ll wish you added to your collection sooner than you did. It’s pure funk, with no filler, and is a great example of the genre in action. Despite its compelling nature, however, Money Talks failed to set the charts on fire. Yet, as you listen to the album, you’ll find that, upon its release in 1978, it was perfectly suited to the existing zeitgeist. Yes, dance floors were filled with disco grooves, but Money Talks compels you to get on your feet and dance to the funky rhythm.

Money Talks isn’t a traditional album as it’s comprised of songs recorded between 1972-75; before the collapse of Stax Records. Granted, it was only released to capitalise on the success The Bar-Kays were having on their new label, Mercury Records, but Fantasy Records, the new owner of Stax’s back catalog, turned this collection of tunes into a masterful release.

Prior to these songs being recorded, The Bar-Kays would go through a significant personnel change following the sad passing of four founding members in 1967. Carl Cunningham (drums), Jimmie King (guitar), Phalon Jones (saxophone), and Ronnie Caldwell (electric organ) died in the same plane crash that killed Otis Redding; they were Redding’s backing band. Ben Cauley (trumpet) was the only survivor of the crash and along with James Alexander (bass), who wasn’t on the same flight, courageously reformed the band. A great loss, certainly, and one that should never be forgotten. 

Money Talks would be released some eleven years following that fateful crash and it’s amazing to hear the upbeat joy and happiness on this EP following such a devastating blow. There’s no doubt in my mind that Money Talks pays homage to the lost bandmates and if you listen closely you’ll hear the spirit and influence of Cunningham, King, Jones, and Caldwell throughout. 

Funk, however, wasn’t at the core of The Bar-Kays in their early years and while it wasn’t entirely void on earlier albums, such as Soul Finger and Coldblooded, The Bar-Kays had a greater focus on soul, rhythm and blues, with a rock vibe at the time. Subsequently, the transition to pure funk seems, upon reflection, to be the perfect transition. This is, however, one of those grey areas where music genres overlap somewhat. One person will listen to the early albums and hear funk present throughout, and they’d be correct, but there is a difference between a funk influence, or featuring funk elements, to being pure funk. I don’t proclaim to be an expert in the variances of musical genres, for I prefer listening to music for its emotive elements rather than wondering if it fits into a particular style. Nevertheless, genres exist for us to connect and compartmentalise similar recordings and there is often overlap. The question that really needs to be asked is do I prefer The Bar-Kays’ origins or their funk era more? For me, it has to be the funk-era recordings and in the case of Money Talks, it gets me moving in the same way as Stevie Wonder’s Hotter Than July does. 

Of course, the music doesn’t reach you if the sonic quality isn’t up to par and this is one exceptionally recorded and mixed record. The lossless Apple Music stream is a lovely facsimile, but this is one record that ideally needs to be enjoyed on vinyl. While I’ve yet to pick up a copy myself, I note that Stax Records, in conjunction with Vinyl Me, Please, reissued the EP in 2020. Unless you can source, or already have a nice original release, it seems that this reissue is the one to get; based on the reviews. 

Returning our attention to the Apple Music stream, one issue that I feel is worth mentioning is that the sound is a little thin. To improve the presentation of the album, you’ll need to increase the bass. As someone who lived through an era where Equaliser (EQ) dials were present on all audio equipment, I find the modern-day software offerings to be substandard and too aggressive with little to no wiggle room outside of the preset options. Purists will argue that such sonic manipulation should be outlawed, but I want to listen to the music in the manner that best suits my tastes.  

An additional reason, outside of sonic quality, for picking up the vinyl counterpart is the artwork. While The Bar-Kays’ debut, Soul Finger, has the greatest artwork of any of their releases, Money Talks is right behind it. I’ve always enjoyed these artistic, cartoon-styled, covers as I feel they present a different viewpoint and connection to the music. Plus, they look cool when displayed! 

Holy Ghost sets the tone for the entire album with a purposeful groove that will get you moving from the get-go. It’s an incredible tune that bookends this release perfectly with the extended Reborn edition closing out Money Talks. Although, as with the song Money Talks, I’m a little torn on the mid-song dip. I get the intent, but I can also imagine the song sans this element.

Feelin’ Alright is an absolute classic tune and this cover is no exception and has to be one of the greatest renditions I’ve ever heard. Originally recorded by Traffic, Joe Cocker’s interpretation is likely the most well-known and is exceptional in its own right, but there’s something special about this particular recording. While it doesn’t deviate too far from Cocker’s rendition, the differences are appreciable from this listener’s perspective.

Monster slows the tempo slightly and some may suggest the introduction is akin to music that is often played in the background for adult entertainment, but I wouldn’t know anything about that! Nevertheless, once Monster reaches the 1-minute mark, it settles down and becomes an incredible instrumental tune. If you’re listening to Money Talks on vinyl, Monster closes out Side One and is utterly perfect in that regard and makes for a perfect late-night listening session whereby you don’t feel the need to flip the album over. 

Money Talks picks up the tempo and will once again encourage you to get on your feet and groove to the rhythm. The mid-song stop, however, is a little disconcerting; until you get used to it, that is. 

Mean Mistreater is a sonic masterpiece. Yes, it’s a Grand Funk Railroad cover, and the original is excellent, but the sound stage’s depth and spaciousness on The Bar-Kay’s edition know no bounds. A perfect mix and one of the best songs, if not the best, on Money Talks. Larry Dodson’s vocal is of particular note here for he takes it right to the edge of his vocal range, yet ensures that it isn’t taken too far. This restraint ensures that Mean Mistreater is an incredible cover. 

Holy Ghost (Reborn) is the perfect bookend closer to Money Talks and if you already thoroughly enjoyed Holy Ghost, you’re going to love this longer version.

From start to finish, Money Talks is a groove-infested album that you’ll find yourself putting on repeat. Why it wasn’t more successful, and more well-known, is likely due to a lack of marketing, but there is no doubt at all that this is one of those hidden gems that deserves more respect than it is given. It really should be in every music lover’s collection; even yours!