The Counts

The Counts, originally known as The Fabulous Counts, emerged from Detroit in the late 1960s with a raw, driving funk sound rooted in instrumental precision and jazz-inspired musicianship. Their early lineup featured keyboardist Mose Davis, guitarist Leroy Emmanuel, and saxophonist Demo Cates—musicians known for their tight grooves and commitment to deep, syncopated rhythm. The group began building its reputation on the strength of blistering live performances and their early singles, eventually catching the attention of influential Detroit producer Popcorn Wylie. In 1969, the group released their debut album *Jan, Jan* through Cotillion Records, anchored by the title track which became a regional favorite. The album offered a gritty, horn-heavy sound that set them apart from more polished soul acts of the time. Their approach leaned into unfiltered funk, capturing the energy of a live band in the studio. While The Counts didn’t achieve massive commercial success, they cultivated a loyal underground following that appreciated their authenticity and instrumental chops. In 1971, now shortened to simply The Counts, the group signed with Westbound Records—home to other rising funk legends like Funkadelic. They released *What’s Up Front That-Counts*, a seminal album now considered a lost classic. Filled with bass-heavy grooves, thick percussion, and raw, expressive organ work, the album showcased the band’s evolution toward a deeper, more progressive funk sound. Its laid-back but undeniable funkiness made it a favorite among DJs and rare groove collectors in the decades that followed. Despite the quality of their recordings, The Counts often flew under the radar compared to flashier contemporaries. They continued recording through the early to mid-1970s, releasing albums such as *Love Sign* (1973) and *Funk Pump* (1975) on the Atlanta-based Aware Records. These records leaned slightly more into soul and vocal-driven arrangements but retained the group’s foundational groove-heavy backbone. Their ability to adapt to changing styles while staying rooted in funk kept their sound fresh and relevant. In a curious turn, the band released the 1972 single “Mr. Penguin Pt. 1” under the alias Lunar Funk, scoring a modest chart hit and revealing their playful side. Over time, original pressings of their albums—especially *What’s Up Front That-Counts*—became collector’s gold, praised for their uncompromising musicality and deep funk aesthetic. The group’s legacy was kept alive not only through reissues but also through hip-hop sampling and revivalist interest in ‘70s funk. While The Counts never became household names, their influence on instrumental funk and soul is undeniable. Members went on to successful solo careers, including Demo Cates in Canada and Mose Davis in jazz and gospel circuits. Their music remains a testament to the unpolished, live-in-the-room funk that helped define the Detroit sound—and continues to inspire crate diggers, producers, and musicians around the world. <details> <summary>Sources:</summary> - "The Fabulous Counts." Wikipedia. Accessed April 2, 2025. <a href="https://en.wikipedia.org/wiki/The_Fabulous_Counts" target="_blank"> https://en.wikipedia.org/wiki/The_Fabulous_Counts </a> - "The Counts." Discogs. Accessed April 2, 2025. <a href="https://www.discogs.com/artist/136156-The-Counts" target="_blank"> https://www.discogs.com/artist/136156-The-Counts </a> - "Fabulously Funky." Detroit Metro Times. April 1, 2009. <a href="https://www.metrotimes.com/music/fabulously-funky-2194542" target="_blank"> https://www.metrotimes.com/music/fabulously-funky-2194542 </a> - "What's Up Front That-Counts." ORG Music. Accessed April 2, 2025. <a href="https://orgmusic.com/collections/the-counts/products/whats-up-front-that-counts" target="_blank"> https://orgmusic.com/collections/the-counts/products/whats-up-front-that-counts </a> </details>

The Counts

Albums

What's Up Front That-Counts

Tracks

Playlists

Involuntary Stank Face