Wednesday, 31 December 2008


Lost-In-Tyme (Main Page) : Psych - Acid - Folk - Garage.....
Lost-In-Tyme : Prog - Kraut - Classic Rock - Blues.....
Lost-In-Tyme : Alternative - Punk - New Wave.....
Lost-In-Tyme : Funk - Soul - Jazz - World.....
Lost-In-Tyme : Index/Archives Page....

Announcement :
From now on, Lost-In-Tyme will be devided into 4 different blogs depending on genre.
All new albums will be posted to the related Lost-In-Tyme blog.
We hope that you will find our effort interesting and worthy enough.

Enjoy !!!
(And Leave Comments)

Wednesday, 23 April 2008

April 2008

Wednesday, April 16, 2008

It's all about peace, love and sharing (and fighting if needed) - The 100 Mirrors project

Three months ago, we got warnings from Blogger and we decided to hide the blog(s) for a while. After a short break, we went back in business. Apparently, this made some people unhappy, and, although our posts were very carefully selected (and some of them were in fact donated by the artists themselves), these people continued to sent complaints to Blogger. The result was that Blogger deleted the Lost In Tyme main page (or garage/psych/folk etc).

We will continue. The music posted there is too rare and too good to let it vanish. Anyone, who has visited Lost In Tyme more than once, knows that our only motive is our love for music. We are not seeking money or fame or anything else (except for a comment now and then). We just want to let the music we love be heard from more and more people.

We had many messages from our visitors/friends: it is clear that you also want Lost In Tyme to continue.

To keep Lost in Tyme alive, we need your help, now.

You don't have to do much: all we're asking from you is to make a google account (if you don't have one) and to create a blog - don't worry it's the most easy thing to do: just chose a name and an url and that's it!. Then you'll have to invite one of us (Rainy Day Sponge's e-mail: or Lost In Tyme's e-mail: to contribute in your blog and after your invitation is accepted, to give him administrator rights (so he could post and fix the layout of the blog). That's all! A few hours later the blog you created would be an exact mirror of the Lost In Tyme blog, containing all the posts of Lost In Tyme from its very start till 3.31.2008.
Note that you don't have to do nothing more - it doesn't need maintenance, and the comments will be deactivated. Just create the blog, let us post the LiT archive and leave it be.

We call this the 100 Mirrors project. What we have in mind is this: If we have 100 mirror blogs, nobody would think about delete anything.
We will post the links of the mirror blogs here, so anyone who's looking for something posted in Lost In Tyme, would easily find it.
This way the music posted in LiT will continue to be available.

This way we will go on - together.

Lost-In-Tyme team.

Edit - several hours later
We already have 11 mirrors up and running! More are on the way! You can see them at the sidebar on the right, under the title 100 Mirrors. We will update the list, as more blogs are ready.
A big thank you and we're waiting for more invitations.

P.S. A note for our friends who send invitations: if you don't want to give us administrator permission, please take a look at the posts. There will be a draft post in there with instructions for the layout (the background should be rather dark) and the number of posts per page (it should be 1 only). Thank you.

100 Mirrors continues
Seems there were some problems opening/viewing the mirrors, due to the huge posts. We're working on it. The first 5-6 blogs on the 100 Mirrors list should open fairly easy now.
We have to repeat our request to the fellow bloggers (who didn't give us administrator rights) to change the number of posts per page to 1 (path: settings/formatting/show)

Etta James - 1968 - Tell Mama

A must have for every soul brother and sister! Everything is perfect here, the chemistry is right, Etta swindles from the sheer contempt of "Tell Mama", to the poignancy of "The Love of my man", to the exuberant "Security" and the moving "I'd rather go blind"....Five stars are not enough!!

A classic album from Etta recorded at Muscle Shoals, with deep soul backing that's different than that used on many of her Chicago-recorded albums of the 60s! Etta's back in hard-belting R&B-tinged territory here a bit more sophisticated than the 50s, with a good mix of hard soul numbers and ballads, opening up in some southern territory that really suits her well.

This is one of the greatest soul albums ever recorded, and is certainly among etta james' best work.

This is a @320 vinyl rip of my original Cader record with covers.

A1 Tell Mama (2:20)
A2 I'd Rather Go Blind (2:33)
A3 Watch Dog (2:06)
A4 Love Of My Man (2:37)
A5 I'm Gonna Take What He's Got (2:32)
A6 The Same Rope (2:39)
B1 Security (2:44)
B2 Steal Away (2:19)
B3 My Mother In Law (2:20)
B4 Don't Lose Your Good Thing (2:26)
B5 It Hurts Me So Much (2:34)
B6 Just A Little Bit (2:11)

California singer, then plagued with personal demons, went to record her best 1960s Southern soul outpost Fame Studios in Muscle Shoals, Alabama, was where the work. Accompanied by the same house bluesmen who'd roweled Aretha Franklin just months earlier, James unleashes "Tell Mama" (a Top Forty hit in 1967), "I'd Rather Go Blind" (her magnum opus), and ten pearls of slightly lower luster. Her vocals throughout are paragons of female virility.

The ever-vivacious Etta James is one of R&B's true greats, an artist whose work will always stand the test of time and this album, originally released in 1968, is one of her best-known and most powerful. More dynamic than expressive, James was a gal who clearly knew how to rock, capable of the same sort of expansiveness as Jimmy Rushing or even jump blues shouters such as Wynonie Harris, but also with a touch of the sleekness seen in Dinah Washington and Ella Fitzgerald. The "Tell Mama" album is a flawless, timeless crowd pleaser, packed with upbeat, compact material, a tailormade showcase for James' mousy snarl. Backed by the best of the Muscle Shoals crew, this is music that can't easily be faulted;

More soul than blues, Etta James' "Tell Mama" originally came out in 1968 as a twelve-track LP. The sound is terrific, clear and realistic, as is the production by Rick Hall. And those who feel that Etta James' Chess recordings featured too many violins and not enough power need to pick up "Tell Mama" right away!

The original album was top-notch in its own right, featuring the all-time classic soul ballad "I'd Rather Go Blind", excellent covers of Ed Townsend's "I'm Gonna Take What He's Got", Otis Redding's "Security" and Jimmy Hughes' "Don't Lose Your Good Thing", and a couple of driving up-tempo numbers, most notably Don Covay's "Watch Dog" and the magnificent title track.
Etta James never sounded better than during these four 1967-1968 sessions, and the various musicians never set a foot (or a finger) wrong.

There really isn't a single weak track among the twelve songs originally issued. Even practically unknown songs like the swaggering soul stomper "My Mother In Law" and the slow "It Hurts Me So Much", which have never been covered by anyone and don't appear on any of Etta James' compilation albums, are highly enjoyable, and Etta's rendition of "Just A Little Bit" (AKA "I Just Want A Little Bit") is a supremely funky slice of soul-blues.

Having already been an established leading soul singer for 13 years and having 18 R&B hits to her name, in 1967 Etta went to record in Alabama at the legendary Muscle Shoals studio. The result was her most accomplished album, on which her voice had been mixed to perfection, allowing her to sound strong on the previously distorted high notes. James was rightly seen in a different light as one of the great soul voices of all time as she belted out powerful tracks such as "The Love Of My Man" and "Watch Dog." Her slower numbers were equally arresting, including the wonderful "I'd Rather Go Blind."

Get the lady here


Monday, April 14, 2008

The Smith Connection - 1972 - Under My Wings

Sunday, April 13, 2008


You may notice that the main Lost-In-Tyme page it's been deleted from blogger "for repeated TOS violations"....

We tried all this time not to post "copyrighted" material in all of the LiT pages...but it seems that wasn't enough...There is someone who don't want us in blogland. I don't know who or why? but I know that he choose the wrong way.

We will not give up !!!
We will start posting in a new address (
We have back-up all the posts from the main page....but for the first days we will not restore the posts...but we will start with new posts.

Stay here !!! More Soon !!!

the Lost-In-Tyme team

Saturday, April 12, 2008

Blog removed for repeated TOS violations

We'd like to inform you that we've received another complaint regarding your blog Upon review of your account, we've noted that your blog has repeatedly violated Blogger's Terms of Service ( Given that we've provided you with several warnings of these violations and advised you of our policy towards repeat infringers, we've been forced to remove your blog and terminate your Blogger account.

Thank you for your understanding.

The Blogger Team

Wednesday, April 9, 2008

First Choice - 1974 - The Player

Their classic second record, and a pivotal album in defining the east coast uptempo sound of the mid 70's. Rochelle Fleming and the gals sing in soulful harmony style, while Norman Harris and Vince Montana lay down some heavy uptempo grooves. Includes their classic "scolding" songs "The Player", "Hustler Bill", and "Guilty", plus a number of other nice groovers.

Monday, April 7, 2008

Bettye Swann - 1967 - Make Me Yours

Bettye Swann has an amazing voice & delivery. The sound quality is great as are the arrangements. One more fine example of how Soul Music manifested itself across America in the 60's; each region with it's own amazing signature. Only shame is the Pop Charts ignored so much really good music and great artists such as this lady & and Baby Washington, Maxine Brown etc.

Heavy deep soul from Bettye Swann - a great female soul singer from the 60s.

This is a @320 vinyl rip of my original Collectables Lp with Covers.

A1. Make Me Yours 2.45
A2. Fall In Love With Me 2.50
A3. Don't Look Back 2.52
A4. Don't Wait Too Long 2.40
A5. Don't Take My Mind 2.35
A6. I Can't Stop Loving You 3.45

B1. I Think I'm Falling In Love 2.49
B2. You Gave Me Love 2.45
B3. The Heartache Is Gone 2.21
B4. I Will Not Cry 3.08
B5. What Is My Life Coming To 2.43
B6. A Change Is Gonna Come 3.56

Uncut (p.132) - 4 stars out of 5 - "She once made the rainiest stetson ballads scorch with R&B sparkle....Terrific."

Mojo (Publisher) (p.116) - 4 stars out of 5 - "No one sings like Bettye Swann. Her tender, yet flirty vocal delivery blended the syrupy pop sensibilities of the Motor City with the gutsy passion of Muscle Shoals and Memphis."

Living Blues (9-10/01, p.80) - "...With her plaintive vocals surrounded by breezy brass...Swann paced the R&B charts in '67 with her teasing 'Make Me Yours', its mid-tempo glide indicative of her entire output for the Money imprint..."

She grew up in Arcadia, Louisiana, one of 14 children, and moved to Los Angeles, California in 1963. Although some sources state that she was in a vocal group known as The Fawns who recorded for Money Records in 1964, she has refuted this, saying that she sang with a trio in Arcadia by that name.

In 1964 she started a solo singing career, as Bettye Swann, at the prompting of local DJ Al Scott, who became her manager. After a minor hit with the self-penned "Don’t Wait Too Long," her big breakthrough came with "Make Me Yours," which topped the Billboard R&B charts in July 1967, and also made #21 on the Billboard Hot 100[2]. In 1968 she split with Scott, moved to Georgia, won a new contract with Capitol Records and had another hit with "Don’t Touch Me" (#14 R&B, #38 Hot 100).

In 1972 she transferred to Atlantic Records, and had a couple of minor hits with "Victim of a Foolish Heart" (later revived by Joss Stone), and Merle Haggard’s "Today I Started Loving You Again." She continued to record until the mid 1970s, but with little commercial success. Her last public performance as Bettye Swann was in 1980, the year her husband and manager, George Barton, died.


1967: Make Me Yours (Money)
1968: The Soul View Now (Capitol) - R&B #48
1969: Don't You Ever Get Tired of Hurting Me (Capitol)
2001: The Money Recordings (Kent)
2004: Bettye Swann (Astralwerks/Honest Jons)

You can also have her 1969 "Don't You Ever Tired Of Hurting Me" here

1965: "Don't Wait Too Long" - R&B #27
1967: "Fall In Love With Me" - US #67, R&B #36
1967: "Make Me Yours" - US #21, R&B #1
1969: "Don't Touch Me" - US #38, R&B #14
1972: "Victim Of A Foolish Heart" - US #63, R&B #16
1973: "Today I Started Loving You Again" - US #46

Get it here

Saturday, April 5, 2008

Freddie Scott - 1967 - Are You Lonely For Me?

Thursday, April 3, 2008

Eddie Kendricks - 1972 - People ...Hold On

Surely one of the most impressive albums to come out of Motown during early 70’s was “People – Hold On”, only the second album from Mr. Eddie Kendricks since his split from The Temptations some three years ago.
He is noted for his distinctive falsetto singing style and was one of the lead singers of the Motown singing group The Temptations during the 1960s and early 1970s.

Simply amazing album.

This is a @320 vinyl rip of my original Motown record with covers.


A1 If You Let Me (3:10)
A2 Let Me Run Into Your Lonely Heart (2:59)
A3 Day By Day (3:07)
A4 Girl You Need A Change Of Mind (7:30)
A5 Someday We'll Have A Better World (3:35)
B1 My People... Hold On (5:40)
B2 Date With The Rain (2:42)
B3 Eddie's Love (3:20)
B4 I'm On The Sideline (2:56)
B5 Just Memories (5:50)


If you were ever to buy an Eddie Kendricks album, THIS would be the one to get. It’s by far his greatest work. There’s some easy going Soul numbers like If You Let Me, Day By Day, Eddie’s Love, I’m On The Sideline with their catchy, sing along lyrics. Those compare with the more upbeat Let Me Run Into Your Lonely Heart with its funky guitar line that has a strong Sly Stone influence to it. Of course, the most well known track might be the expansive Girl You Need A Change Of Mind that has lyrics for the first half, and then just turns into a jam session. I always thought the lyrics were really interesting as well because it seems to be a reply to the Feminist movement that they shouldn’t overlook racism and civil rights and not discriminate against all men. He even gets a little experimental with the heavy percussion and group chorus of My People … Hold On that’s tempered by Kendricks’ sweet singing. He finishes off with Just Memories with its dramatic horn intro before going into a ballad. In the fact the remaining tunes, Someday We’ll Have A Better World and Date With The Rain are also good making this an excellent record from beginning to end.

For his second outing People … Hold On (1972), former Temptations leader Eddie Kendricks expanded his horizons, dabbling with communally conscious soul and making initial forays into dance music that would predate disco. As he had done for Kendricks solo debut All By Myself (1971), producer Frank Wilson contributes several tunes. Among them is "If You Let Me" that kicks off the disc with a bright groove, custom made for the vocalists' sanguine lead. Things get downright funky on the sanctified "Let Me Run Into Your Lonely Heart". The mercurial beat is bathed in distortion and wah-wah guitar that trades back and forth with a syncopated clavinet. All the while, Kendricks shows off his range-free tenor as he effortlessly vacillates in and out of his trademark overdrive falsetto. The sacred influence of "Day By Day" is underscored by some stellar keyboard with organ and piano runs that could just as easily have been heard in a Sunday morning prayer meeting.

The nearly eight-minute "Girl You Need A Change Of Mind" is nothing short of an epic precursor to the extended four-on-the-floor numbers that would soon be christened as 'disco'. In addition to providing an above average R&B groove, Kendricks' new band — the Washington D.C.-based Young Senators — are joined by the unmistakable touch of Eddie "Bongo" Brown's rhythmically limber congas. The record buying and radio listening public obviously agreed as the song was edited and issued on a 45 rpm that made it to the Top 15 R&B Singles survey.
Returning to the project's thematic motif "Someday We'll Have A Better World" is a mid-tempo optimistic number with a plea for a more peaceful co-existence. The project's title composition "My People … Hold On" is stunning on a completely different level as the artist reconnects with his musical heritage with a languid and methodical bed over which Kendricks raps, practically begging for sanity within the socially troubled African American community.

Get it here


Monday, 24 March 2008

March 2008

Monday, March 31, 2008

Bunny Sigler - 1975 - Keep Smilin'

A philly classic, and you know that I adore philly sound.

So what we have here? Bunny Singler (singer – writer – producer ) with Norman Harris and Instant Funk! These three are enough for such a great record.
You can put the needle on any track and you’ve got the TSOP (The Sound Of Philadelphia) at its exciting best. 7 minutes cover of “Love Train” is wonderful!

This is a fine @320 vinyl rip (not mine this time cause it had a lot of scratches) with original covers. This record never issued on CD.


A1 Shake Your Booty 4:47
A2 Picture Us 2:34
A3 Keep Smilin' 5:55
A4 That's How Long I'll Be Loving You 2:55
A5 I Lied 3:54

B1 Things Are Gonna Get Better 2:55
B2 Sweeter Than the Berry 4:40
B3 Your Love Is Good 2:52
B4 Somebody Free 4:16
B5 Love Train 7:00

Bunny Sigler's Keep Smilin' LP was rush-released to capitalize on the fast-breaking (fast-selling) title track single. Several tracks on Keep Smilin' were first included on That's How Long I'll Be Loving You released earlier that year. The Philly soul singer/songwriter/producer was trying to quickly follow up his Top 30 R&B churchy ballad cover version of The O'Jays gold hit, "Love Train." The difference between the two albums is the outstanding two tracks that feature Instant Funk:"Keep Smilin',,""Sweeter Than the Berry." Co-written by Sigler and Allan Felder,the pumpin' "Keep Smilin'," is one of Sigler's best.) Sigler later produced a cover of the tune on guitarist Gabor Szabo for his Szabo's excellent 1976 Mercury LP, Nightflight with that version becoming a steppers classic. The bluesy "Sweeter Than the Berry," has punching horns and a nassty break that features Sigler, bassist Raymond Earl and the late-night wailing sax of Sam Peake. Another single, the thumpin', brassy, fun-filled "Shake Your Booty," was starting to gain interest before it was quelled by protest over its title. Oddly, no such protest was waged against the similarly titled "Shake Your Booty." Norman Harris with Sigler produced " I lied" and "Your Love Is Good" with the music by MFSB.

Get it here
Bunny_Sigler_-1975-_keep_smilin_.rar (new)

Friday, March 28, 2008

The Futures - 1975 - Castles In The Sky

The Futures were one of the most criminally underrated soul harmony vocal groups of the 1970s. Despite the greatness of their recordings, they failed to make it big. This 1975 release is deservedly viewed as a classic "Sweet Soul" album today although it went nowhere when originally released. Highly recommended.

This is a @320 vinyl rip of my original Buddah record with covers.

A1. Castles 7.52
A2. ( Love Lives On A) Windy Hill 4.29
A3. Don't Close The Book 3.03
A4. Super Love 2.44

B1. I Had A Dream 6.52
B2. Every Man Is God 5.40
B3. Do Unto Others 3.05
B4. Love Will Be Around Forever 3.50
B5. Ninety Days ( In The House Of Love Correction) 3.04

The first LP issued by The Futures a fine Philly vocal quintet who'd recorded a number of singles earlier in the 70s, but who finally cracked the LP racks with this 1975 release! The group's got harmony chops that are plenty strong -- with an ability to hit both a sweet soul sound and a deeper righteous groove that was being used by some of the funkier groups at the time. This album's not the group's strongest, but it's got more than enough great moments -- thanks to some sweet arrangements by David Van DePitte and Wade Marcus, who give the group a sound that's sort of a 70s extension of the Motown sound of the end of the 60s. There's some pretty catchy numbers on the album like "Do Unto Others", "Ninety Days (In The House Of Love Correction", and "Super Love" and the album begins with a nice stretched-out groover called "Castles".

It's a mystery why Buddah would released this album and not promote it; they didn't issue but one single from the LP. Seven of the eight songs are Reginald Turner, Victor Drayton, John Bellmon, and Jerry Akines compositions, the talented Philadelphia singers and songwriters who penned "Don't Let the Green Grass Fool You," a hit for Wilson Pickett and the Spinners. They also recorded themselves under various names including the Formations, the Corner Boys, and Frightened Majority. Barbara Mason penned the other song, a funky jam entitled "Ninety Days (In the House of Love Correction)." There are some good songs including "Super Love," "(Love Lives on A) Windy Hill," and "Don't Close the Book." "Castles," in June of 1975, was the only single issued. A good catch if you can find a copy.

Formed 1968 one of Philadelphia's finest groups,The Futures made a poor career move when Gamble Records ended up by signing with Buddah Records, thus missing a golden opportunity to join Philadelphia International Records.

Their first Buddah release '(That's) The Way Of A Woman In Love' b/w 'Grade A Woman,' was released in January 1974.The second single 'No One Could Compare' b/w 'You Better Be Careful' was released shortly afterwards.

Without the major label support that Philadelphia had to offer bands like the O'Jays, and Harold Melvin & the Bluenotes & the Stylistics, the band failed to reap the benefits of their productions.

Buddah released the Futures third single 'Castles' June 1975, which continued the string of under achievments. They issued the Futures' first album 'Castles In The Sky', in 1975 which didn't include the first two singles. Its promotion was almost non existent. Barbara Mason wrote their final Buddah single 'We Got Love,' prompting a poorly promoted tour with Philly's First Lady of Soul.

Finally, they reunited with Gamble & Huff in 1978 at Philadelphia International Records, but the company's glory days were over.The first release 'Part Time Party Time Man,' was their most successful single. Its 'rare groove' successor 'Ain't No Time For Nothing,' was succeeded by three more singles including 'Mr. Bojangles. 'Philadelphia International released two albums by the Futures, 'Past, Present & The Futures', and the obscure 'The Greetings Of Peace'.

Get it here

Thursday, March 27, 2008

Baba Yaga (US) - 1978 - On The Edge

"On The Edge” by Baba Yaga – A Women’s Band
(Bloodleaf Records, OTE 105 - 1978)


Lovely and groovy jazz vocal LP by a California all-female jazz group.
Record was distributed by Olivia, so I’m guessing this is a Lesbian
ensemble… Sought after among Brazilian buffs for their fantastic cover of
“Terra” by Marcos Valle. The entire thing is strong and there are a couple
of real floor-fillers.

Should appeal to fans of Alive, Linda Tillery, The Dance of the Universe
Orchestra, Carl & Joanne Barry, Feather, Judy Roberts, Sheila Landis, Cavril
Payne, etc

1 Charlotte's Web
2 Sweet Beginnings
3 Terra
4 Too Cool To Be True
5 Monogamy - Shbedogamy
6 Smoke
7 A Little Bit Of Something Special
8 Old Woman
9 Nomi
10 Rise Again

In the photo above the members of Baba Yaga are, left to right, Patti
Vincent, Jan Cornall, Kiera O'Hara, Bonnie Kovaleff, Susan Colson and
Barbara J. Galloway



Wednesday, March 26, 2008

Ace Spectrum - 1974 - Inner Spectrum

Ace Spectrum was one of the groups that never really had a chance, but those of us who had an ear for real music found them and remain loyal more than thirty years later. I still play this lp regularly. If you don't own and call yourself an R&B fan you are really missing out. "Movin' On" is the ultimate break up song and "I Don't Want To Play Around" will quickly become a favorite for all who enjoy Old School. Get it.

This is a @320 vinyl rip of my original Atlantic record with covers.


A1 Don't Send Nobody Else 5:00
A2 Don't Let Me Be Lonely Tonight 4:22
A3 If You Were There 4:00
A4 Moving On 4:19
B1 Pickup 3:02
B2 Me and My Love 3:31
B3 Easy 3:58
B4 I Don't want to Play Around 7:33

A tremendous debut from Ace Spectrum -- a harmony quartet who never cracked the charts as much as some of their east coast contemporaries, but who were every bit as great as the bigger names on the east coast scene! The album's got a soaring sound that's strongly influenced by Philly, but recorded in New York -- a warmly compressed style that's professional and focused, and beautifully put together with arrangements from Bert DeCoteaux and production by the team of Tony Silvester and Ed Zant. We love the group the best on the mellower cuts -- which have a quality that's deeply personal amidst the smoothness -- but even the more upbeat tracks are plenty darn great too!

The quartet's first and most popular of three Atlantic Records albums. It contains their only hit, Don't Send Nobody Else (also recorded by the Dynamic Superiors) and a first-rate rendition of Don't Let Me Be Lonely Tonight, along with the perky If You Were There. Group members Aubrey Johnson and Henry Zant collaborated on Pickup, Me and My Love, and I Don't Want to Play Around. Atlantic did the album a disservice by only rolling out one single before flinging a second album out. However, the group's revolving-door membership may have been the underlying reason. Ace Spectrum's -- whose personnel changed every album -- signature was variety; they employed multiple leads, which kept listening interesting.

Get it here


Monday, March 24, 2008

Chicago Gangsters - 1976 - Gangster Love

An extremely rare funky soul album never released on cd.
A mix of funky tracks, ballads and grooves.
A funky group with great albums in the 70’s but stayed unknown.

This is a @320 vinyl rip of my original Gold Plate record with covers.

A1.Gangster Love 2.59
A2. On The Way 4.00
A3. I'm At Your Mercy 4.10
A4. Feel Like Making Love 4.50

B1. Michigan Avenue 5.15
B2. Music For The People Pt.1 3.27
B3. Music For The People Pt.2 2.03
B4. Got A Little Picure 5.27

Despite their name, the Chicago Gangsters were originally from Ohio, consisting of brothers James, Sam, Chris, and Leroy McCant. Their sound ranged from heavy funk and disco to sweet, smooth soul balladry. They adopted the name Chicago Gangsters after catching on with the Gold Plate label, where they worked with prolific songwriter/arranger Richard Evans and a number of Chicago's top studio musicians. Their debut LP, Blind Over You, was released in 1975 and contained the slamming funk of "Gangster Boogie," as well as a minor hit cover of "I Choose You," which Willie Hutch had originally recorded as the love theme to the film The Mack. The title track of their 1976 sophomore album Gangster Love was another minor hit, and also the first 12" single their label ever issued. 1977's "I'm an Outlaw" was their last single for Gold Plate; a year later, they cut "Windy City Boogie" for RCA. Dropping the "Chicago" part of their name, the Gangsters subsequently signed with Heat and recorded a third album, Life Is Not Easy Without You, in 1979. They continued on into the early '80s before disbanding. "Gangster Boogie" became a massively popular sample item for hip-hoppers and breakbeat aficionados, most prominently appearing on L.L. Cool J's hit "Mama Said Knock You Out"; their first album was eventually reissued as Gangster Boogie.

Friday, March 21, 2008

Carla Thomas - 1967 - The Queen Alone

Carla Thomas was to Memphis’ Stax Records what Aretha was to Atlantic: the label’s reigning matriarch. She is one of the most respected singers of any era.
Carla Thomas was more than deserving of her title "The Queen of Memphis Soul," but she was hardly oblivious to the sleeker, more pop-influenced sweet soul and uptown soul coming out of Detroit, Philadelphia and Chicago.

A classic!

This is a @320 vinyl rip of my original Stax Record with covers.

1. Any Day Now 3.40
2. Stop Thief 2.37
3. I Take it To My Baby 2.55
4. I Want to Be Your Baby 2.14
5. Something Good (Is Going to Happen to You) 2.30
6. When Tomorrow Comes 2.30
7. I'll Always Have Faith In You 2.52
8. All I See Is You 3.30
9. Unchanging Love 2.45
10. Give Me Enough (To Keep Me Going) 2.27
11. Lie To Keep Me From Crying 2.25

The queen of Memphis soul -- caught "alone" after a some earlier hit recordings as part of a duo with Otis Redding -- but now on her own in the years after Otis untimely early passing! The album has Thomas strongly returning to the sound of her first few albums on Stax -- a bold, full-voiced sound that has her remerging as one of the first ladies of soul at the end of the 60s, and coming across with a sound that's a fair bit more mature than her earliest singles. The tunes include a great batch of original Isaac Hayes & David Porter compositions -- the strength of which really hold the album together, and make for a no-filler set all the way through!

One of her strongest albums, "The Queen Alone' isn't the work of someone who took a Memphis-only approach, but of someone who was well aware of what Gladys Knight, Dionne Warwick, Martha Reeves and others were up to. What's surprising is the fact that this album contains only two hits: the playful "Something Good (Is Going to Happen to You)," which made it to number 29 on Billboard's soul singles chart, and the idealistic, gospel-influenced ballad and number 11 R&B single "I'll Always Have Faith In You." Songs ranging from the sweet and vulnerable "I Want to Be Your Baby" to the remorseful "All I See Is You" and the pessimistic "Any Day Now" (a song co-written by Burt Bacharach) weren't singles, but it wasn't for a lack of heartfelt singing. Drawing on both Southern and Northern soul, Queen is a pleasant reminder that they were equally attractive options.

Get it here

Tuesday, March 18, 2008

Sister Sledge - 1979 - We Are Family

One of the greatest dancers ... I mean, disco albums of all times! The Sledge sisters soulful vocals make this album a notch above CHIC's own albums, the arrangements of piano, crisp rhythm guitar, thumping bass and a warm strings sound are timeless.

Nile Rodgers and Bernard Edwards of Chic produced this masterpiece for Sister Sledge. Easily the groups best release and not a weak track on the album. Unforgettable ballads and the uptempo tracks speak for themselves!Collectors item!

"We Are Family" is still kind of a guilty pleasure of ours, and that nice Nile Rogers guitar keeps on ripping along in a way that never gets old!

This is a @320 vinyl rip of my original Cotillion Record with covers.

A1 He's The Greatest Dancer (6:04)
A2 Lost In Music (4:42)
A3 Somebody Loves Me (4:48)
A4 Thinking Of You (4:20)
B1 We Are Family (8:06)
B2 Easier To Love (4:55)
B3 You're A Friend To Me (5:20)
B4 One More Time (3:07)

The story of how the We Are Family album came to be is one of the players clicking together at the right time. Guitarist Nile Rodgers and bassist Bernard Edwards were a crack production team that, along with the drummer Tony Thompson, formed the heart of the band Chic. Philadelphia siblings Debbie, Kim, Joni and Kathy Sledge had been on the R’n’B scene for several years but were still relative unknows when Atlantic Records match-made them with their labelmates Chic, who has scored a trio of pop hits with discotheque staples “Dance Dance Dance”, Everybody Dance” and “Le Freak”.

The sisters were given quality songs, with the music placed within a pristine setting courtesy of the core chic threesome, as well as dazzling horn players such us as trumpeter Jon Faddis and saxophonist/flautist Alex Foster and backing vocals by Luther Vandross and Chic singers Norma Jean Wright. The Result? Elegant, string-laden masterpieces such as “He’s The Greatest Dancer” and the euphoric “Lost In Music” that stand alongside Chic’s own work as perhaps the pinnacle of the disco area. Oh, and multi platinum sales (from the book - 1001 albums you must hear before you die)

Kathie, Jodi, Debra, and Kim Sledge has started recordings as Sister Sledge as teenagers in 1971. Based in Philadelphia they released some material on the Money Back label and worked as back up singers for Gamble & Huff’s PhiladelphiaInternational. After signing to Atlantic in 1973, they had some minor success with the proto disco record “Love Don’t Go Through No Changes On Me” and “Mama Never Told Me” which reached the UK top 20 in 1975. By and large, however, they toiled in the background for half a decade until Chic saved them from obscurity. Recognizing that lead singer Kathie was, in traditional soul terms at least, one of the most skilled vocalists in disco, Rodgers and Edwards subtly changed the standard Chic formula in favor of full-blooded disco-gospel release. The first single “He’s The Greatest Dancer”, led by an amazing, popping, guitar figure from Rodgers, the single became the group’s first major hit, reaching the pop Top 10 and #1 on the RnB chart. As Well as boasting one of the great disco breakdowns, the song also highlighted Rodgers and Edwards’ songwriting prowess. The Album’s best writing, however, was to be found on “Lost In Music”. The album’s title track was even bigger. Based on a riff stolen from Children of God, “We Are Family” might have been a gospelesque get happy tune about the joy of sisterhood and became an all purpose anthem (from the book - The Rough Guide To Soul and RnB).
This album is undoubtedly a timeless classic and this is primarily due to the crucial teaming of two magical elements. The precision and meticulous production of Niles Rodgers and Bernard Edwards combined with the silky smooth vocals of the Sledge Sisters. The irony is that although the production is flawlessly polished and considered, the result is completely joyful and spontaneous. All eight songs are wonderful but the most recognizable will be the massive hits "We Are Family","He's the Greatest Dancer", "Lost In Music" and "Thinking of You". All the usual characteristics of Rodgers/Edwards productions are present here: strong melody, driving bass, funky guitar, tight soulful vocals but what is particularly impressive is the soaring add lib sections towards the end of each song ("We Are Family" is extended to a glorious eight minutes thanks to Kathy Sledge's improvisation). The never-ending samples and imitations that this album has inspired today is indicative of its durability and influence. It doesn't represent or define the disco era, it transcends it.

Get this soulful disco gem here


Saturday, March 15, 2008

Pleasure - 1977 - Joyous

Sublime jazzy soul from Pleasure - one of the greatest groups of the west coast scene of the 70s - and a key force in defining the Fantasy Records groove of the time! Pleasure have a sound that's head and shoulders above most of their contemporaries -- especially groups on major labels who tried for this sort of blend, but never made it come off that right -- usually too smooth or too commercial. The mighty Wayne Henderson is a key factor in their sound -- as he produced with that well-balanced groove he brought to his best work under At-Home Productions umbrella.

This is a @320 vinyl rip of my original Fantasia record with covers.

A1 Joyous (6:26)
A2 Let Me Be The One (5:11)
A3 Only You (3:20)
A4 Can'T Turn You Loose (4:14)
B1 Sassafras Girl (6:46)
B2 Tune In (6:37)
B3 Dance To The Music (4:50)
B4 Selim (3:48)

Pleasure couldn't have asked for a more appropriate producer when, in late 1976, it employed Wayne Henderson on Joyous. A band that frequently brought jazz overtones to its funk-soul foundation, Pleasure needed someone who held jazz and R&B in equally high regard — and Henderson easily fit that description. The Texas trombonist first made a name for himself playing hard bop with the Jazz Crusaders, but as the 1970s progressed, he became increasingly R&B-friendly. Henderson was exactly the sort of producer that Pleasure needed, and the band's appreciation of jazz comes through on the up-tempo funk numbers (which include "Dance to the Music," "Let Me Be the One," and the title song) as well as the dreamy quiet storm gem "Sassafras Girl." Pleasure brings this vinyl LP to an appealing close with a jazz-funk instrumental titled "Selim," which isn't typical of Joyous on the whole — most of the tunes are vocal-oriented. This is a funk-soul record first and foremost, and it is also a classic that underscores Pleasure's risk-taking nature.

70s Funk-Soul with Jazz overtones, that was Pleasure. Joyous was an achievement even for Pleasure; that's saying something because the LPs before and after it were anything but dull. "Crusader" Wayne Henderson decided to produce this LP, and it turned out to be an excellent idea; Joyous contains some great songs: there is the title song which lives up to its title (we danced whenever the song was played in the clubs), and there's Sassafras Girl, for me, the best song Pleasure ever recorded, complete with good solos (among others, Wayne Henderson playing his trombone), structure and arrangement.

Get it here

Thursday, March 13, 2008

Barrino Brothers - 1973 - Livin' High Off The Goodness Of Your Love

Excellent North Carolina-based quartet on Holland-Dozier-Holland's label.

Another super rare release from the excellent Barrino Brothers whose 1972 single release 'I Shall Not Be Moved' is one of the most sought after UK 45's on the label.

The LP can easily boast many more gems too for example check out the opening song 'Trapped In A Love' which is another mid tempo treat that's ideal for any commercial dance floor.For real collectors the highlight of the album must be the inclusion of the superb ballad 'It Doesn't Have To Be This Way' which is a highly collectable item today.

This is a highly recommended purchase alongside the other Hot Wax/Invictus CD's. A word of warning though, buy them now to avoid disappointment, and finding yourself waiting another thirty years until someone decides to re-issue them again.

This is @32o vinyl rip of my original Invictus record with covers

A1 I Had It All 4.16
A2 It Doesn't Have To Be That Way 7.40
A3 Rain 6.39

B1 Try It, You'll Like It 2.53
B2 I Can't Believe You're Gone 3.00
B3 Livin' High Off The Goodness Of Your Love 4.02
B4 When Love Was A Child 3.44
B5 Well Worth Waiting For Your Love 3.31

Julius, Bobby, Perry, and Nathaniel managed a couple 45s on the TCB label prior to signing to former Motown production legends Holland, Dozier, Holland's Invictus label in the early 70s. The production architects at Motown to both The Supremes and Four Tops first successful albums in 1964 (and their continued success while being produced by the trio), had by the latter 60s won their legal freedom from the label. By the early 70s the team was producing some of the best music to ever come out of their studios, releasing songs by Honey Cone, Chairmen Of The Board, Freda Payne, 8th Day, Smith Connection, as well as others, on several of their labels, including Hot Wax, Invictus, Music Merchant Records, etc.

By signing the Barrino Brothers it is believed it was the label's vision to present a vocal group sound not present on the label at that time, what with Chairmen Of The Board presenting a rawer edged sound, Smith Connection- some very sweet soul, and 8th day not presenting a smoother, harmony sound. The Barrino Brother's vocal harmony, including a deeper sound was unique to the label at the time. In 1973, on the Invictus label was released the group's one and only album "Livin' High Off The Goodness Of Your Love".

Unfortunately, songs off the lp had as hard a task getting significant radio airplay as new shrubbery on the floor in the heart of the amazon! The group, as so many before them came to realize unfortunately, "it ain't that easy". Despite having production input from the legendary team, it was not enough to catapult the group to greater career success. The original 1973 album when appearing for sale, if in pristine condition, due to it's obscurity and extremely low availibility, does command supply/demand numbers. The lp onto cd was released Japan only in the 80s. It has been availible to the worldwide market with 2 different titles (basically the same cd, one has a couple extra tracks, incl. instrumentals) for several years now, still as imports.

This is the release of a lost, vocal group, soul lp.

Get it here

Tuesday, March 11, 2008

Well, Thank you all for the response & commenting to the posts !

As Nikos said it's very important for us (and had nothing to do with our ego as some friends thought). It's have to do with communication !

We didn't start this blog(s) because we want to "show" you that we know a lot of things about music. (Actually many of you know more than us --and we learn from you, and online resources--). We start this because we didn't want anymore to deal with anonymous p2p file sharing programs.

I'm also "guilty" as you, 'cause we let you feel that way...
We didn't mean something like that. The previous post it was only for let you know that we need you here ! To tell your opinion when it's possible, and share your knowledge or/and feelings about the music. No "thanks" are necessary...but if that's all that you can say it's welcome too !
(I'm usually say "thanks" because of my bad English).

We don't ask for a reply in every album that you downloading but if you can leave one or two comments every week that would be great !

Once again thank you for your participation and be there !

Gladys Knight & The Pips - 1974 - I Feel A Song

Tracks :
A1 I Feel A Song (In My Heart) (3:10)
A2 Love Finds Its Own Way (3:47)
A3 Seconds (3:49)
A4 The Going Ups And The Coming Downs (3:27)
A5 The Way We Were (4:32)

B1 Better You Go Your Way (3:58)
B2 Don't Burn Down The Bridge (4:34)
B3 The Need To Be (4:05)
B4 Tenderness Is His Way (2:55)

Reviews :
Here is another beautiful work of Gladys Knight and The Pips to Buddah Records! "I Feel A Song (In My Heart Again)" was a hit in 1975. This album clearly shows the art of Gladys Knight in each song and it could be a good mirror for many female singers of today that think that to sing "soulfully" a song is just to shout hysterically without meaning or feeling. In "I Feel A Song", Gladys is angry and secure, in "The Way We Were" is reflective, in "Better You Go Your Way", happy, in "The Need To Be" (one of her best performances) is pungent, in "Tenderness Is His Way" (another great performance) romantic, distant, in another world... A LP to hear from the beginning 'till the end!
~By Marcos B. Santos (Rio de Janeiro, Brazil)


I think that every Gladys Knight Fan should have this album in their collection. It's definitely one of their best, and each and every song is well chosen. It's not often that you purchase a disc with every track a winner, but this is one of them...
~By Joanne Elliott "Joell, Music Lover" (Sydney,NSW, Australia)

From the serrated edge soul shouting of the title cut, to the assured legato of "The Way We Were", Knight demonstrates her fine way with a song. There is the country-tinged r&b of "Don't Burn Down The Bridges", produced by the group. "Seconds", co-written and produced by Burt Bachrach. The song is from a stage production and its arrangement and vocal interpretation evoke the theater. Jim Weatherly's "The Need To Be" is one of Knight's personal favorites. Her performance captures the inward reflection of the song's lyric with pain and grace. Bill Withers offer perhaps the counterpart to "Neither One Of Us" with the track he penned, "Better You Go Your Way." He and Knight trade vocals on this up-tempo tale of partners who are ready to say goodbye. This release is a fine example of what made Gladys Knight & The Pips one of the biggest groups of the early 70s.

Gladys Knight & The Pips

Gladys Knight
(b. 28 May 1944, Atlanta, Georgia, USA), her brother Merald "Bubba" (b. 4 September 1942, Atlanta, Georgia, USA), sister Brenda and cousins Elenor Guest and William Guest (b. 2 June 1941, Atlanta, Georgia, USA) formed their first vocal group in their native Atlanta in 1952. Calling themselves the Pips, the youngsters sang supper-club material in the week, and gospel music on Sundays.

They first recorded for Brunswick Records in 1958, with another cousin of the Knights, Edward Patten (b. 2 August 1939), and Langston George making changes to the group line-up the following year when Brenda and Elenor left to get married. Three years elapsed before their next sessions, which produced a version of Johnny Otis' "Every Beat Of My Heart" for the small Huntom label. This song, which highlighted Knight's bluesy, compelling vocal style, was leased to Vee Jay Records when it began attracting national attention, and went on to top the US R&B charts.

By this time, the group, now credited as Gladys Knight And The Pips, had signed a long-term contract with Fury Records, where they issued a re-recording of "Every Beat Of My Heart" which competed for sales with the original release. Subsequent singles such as "Letter Full Of Tears" and "Operator" sealed the group's R&B credentials, but a switch to the Maxx label in 1964 - where they worked with producer Van McCoy - brought their run of successes to a halt. Langston George retired from the group in the early 60s, leaving the line-up that survived into the 80s.

In 1966, Gladys Knight and the Pips were signed to Motown Records' Soul subsidiary, where they were teamed up with producer/songwriter Norman Whitfield. Knight's tough vocals left them slightly out of the Motown mainstream, and throughout their stay with the label the group were regarded as a second-string act. In 1967, they had a major hit single with the original release of "I Heard It Through The Grapevine", an uncompromisingly tough performance of a song that became a Motown standard in the hands of its author Marvin Gaye in 1969. "The Nitty Gritty" (1968) and "Friendship Train" (1969) proved equally successful, while the poignant "If I Were Your Woman" was one of the label's biggest-selling releases of 1970.

In the early 70s, the group slowly moved away from their original blues-influenced sound towards a more middle-of-the-road harmony blend. Their new approach brought them success in 1972 with "Neither One Of Us (Wants To Be The First To Say Goodbye)". Later that year, Knight and The Pips elected to leave Motown for Buddah Records, unhappy at the label's shift of operations from Detroit to Hollywood. At Buddah, the group found immediate success with the US chart-topper "Midnight Train To Georgia", an arresting soul ballad, while major hits such as "I've Got To Use My Imagination" and "The Best Thing That Ever Happened To Me" mined a similar vein.

In 1974, they performed Curtis Mayfield's soundtrack songs for the film Claudine; the following year, the title track of I Feel A Song gave them another soul number 1. Their smoother approach was epitomized by the medley of "The Way We Were/Try To Remember" which was the centrepiece of Second Anniversary in 1975 - the same year that saw Gladys and the group host their own US television series. Gladys made her acting debut in Pipedream in 1976, for which the group recorded a soundtrack album.

source :

Get it here :
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Friday, March 7, 2008

Where are you? (Get together)

I would like to thank you for your devotion so far. This blog has great number of visitors and downloads. More than we expected.

But there’s no proportional response in comments section.
15 – 20 comments (all day in all posts) is low when we have 2000 visitors everyday in the blog and grub these rare vinyl(s).

If only some of you leave a reply in every 3-4 posts, then our communication will be great. I know maybe you do not have to say something new or clever but to us is very important to feel that you are there and give us a credit for our work.

You all know it takes a lot of time to rip a vinyl and find information especially for such rare vinyls. I recently spent 5 hours for Barbara Jean English to find a few words.

For the next period we have more amazing artists most of them never released on cd and we expect you to show us how much you appreciate what we do.

We also want to know your opinion about the above, brothers.

I would like to place a text from my music brothers 4brothers beats, which express my feelings and i totally agree.

"I have been wrestling for some time over an issue that has caused the privatization (and sometimes complete shutdown) of dozens of blogs across the blogosphere. We have all seen it before and I'm sure that many of you have strong opinions about it. The issue is silent downloading, also known as silent leeching. Now for the record, let me say that this is my personal opinion and does not necessarily reflect the views of 4BB as a whole. So whatever is decided here will only affect my posts and no one else's, unless they choose to implement the idea. Nor do my observations apply to the readers who participate, contribute personal rips and show general appreciation on a regular basis. You guys are what family is about and I thank you! However, this decision will affect you so please submit your input.

Now I'm sure that many of you are rolling your eyes or bracing yourselves for a long speech. But after much thought, I have decided to try and address this a different way. Instead of going all "ninja" on folks, I am going to embrace the general spirit of the blog and see if we can work this out together. But first let me briefly explain the issue for those not sure of what I'm talking about.

It's quite simple really. Bloggers work hard to post music. Whether the rip is original or was acquired from some other source, we still go through the trouble of putting together an educational post, fight computer malfunctions and crashes, fret about the quality of the rip, and struggle with the hosting sites that delete the links that it may have taken hours to put together. No, it's not brain surgery, but it is work. The contributers have lives, jobs and families outside of this blog, but we do this because we love music and we get inspired by your love of music. So it really is a drag when I look and see that there were 303 downloads of the Sweet Sensations album, but only 7 comments (with maybe 5 or 6 more in c-box). And I'm not even counting the downloads on JazzyPier's link of the same album. In the time that it takes to download a link, one could leave a pleasant comment. (By the way, promoting your website by posting your link in the c-box or just asking for a post or re-up does not count.) The thing is, I'm guessing that you say thank you when you get a free sample of frozen yogurt at the mall. Hmm.

So I am turning to you for a solution, folks. I will weigh the advice and pick the best idea. If only one person responds with a valid idea, I will implement it. If no one says anything, then I will go with my own plan. Feel free to post any objections but make them civil. Any nasty, anonymous comments will be deleted immediately. This isn't a war, so please come with a peaceable spirit. Let's get together on this. Thanks. (Originally posted 2/15/08) "

So brothers, how do you feel about it?

Thursday, March 6, 2008

A true funk killer classic!

This album is one of the funniest and most funkiest of albums that have graced my turntable. Even though "find my way" and "rigor mortis" are danceable and funky, respectively, the 'piece de resistance' on this lp is the magnificently funky "funk funk"! what a concept! the first 30 seconds of this cut do not prepare you for what you'll hear for the rest of the track, for it is pure funny funk from larry blackmon and gregory johnson on funky vocals.

Always in every list of the 25 funk albums of all time, heavily influenced by p funk and kool and the gang "funk funk" sounds like george clinton gave them one of his left overs that song reaaly sounds like p funk 4real "rigor mortis" was a mutha and also one of the most sampled funk jams of all time.

This is a @320 vinyl rip of my original Casablanca record with covers


A1 Still Feels Good (4:14)
A2 Post Mortem (4:17)
A3 Smile (3:48)
A4 Funk Funk (4:44)

B1 Find My Way (3:23)
B2 Rigor Mortis (5:18)
B3 Good Times (4:59)
B4 Stay By My Side (4:23)

This Cameo debut was to me the best work they as a group have ever recorded. Just as equal to me as any P Funk albums. Back in the day I had never heard of Cameo until I bought this mix tape(8 track) from the record shop, which had 3 Cameo cuts on it Funk Funk, Rigor Mortis and Post Mortem(classics material baby) After copping the vinyl I could tell that they were not a one hit wonder They set a standard that is not defined by radio program directors who refused to play them.(Thanks club Dj's) Smile and Find My Way(later remixed) show that these guys can bring the noise and rock a slow jam.

I don't think it can be stated enough that for fans of the mid 1980's Word Up! period are in for a huge shock with 'Cardiac Arrest', the band's debut presenting a 13 member line up(including a horn section) that play hardcore 70's funk. The emphasis in this period of Cameo's career is on the rhythm section with electronics pushed to the wayside as is typical of most funk bands in the mid 70's. And there's plenty of that here with "Still Feels Good","Good Times" and the stomping "Post Mortem". There are two undisputable funk classics here-the hit "Rigor Mortis" (which we all pretty much know) and "Funk Funk"-the undeniable Star Trek parody which, because of its rapped lyrics and crazy rhythm bought up the P-Funk comparisons. And this album also contains two great ballads in "Smile" and "Stay By My Side", especially since Cameo were obviously not trying for ballads. This was the sound that Cameo would progress and evolve from in the next decade. A more individual style would later developed but Cameo already stood up even from the beginning.

In 1977, one of funk's most promising debuts came from Cameo, whose first album, Cardiac Arrest, made it crystal clear that Larry Blackmon's outfit was a force to be reckoned with. If you were into hard, tough funk in 1977, it was impossible not to be excited by Cameo's debut. This excellent LP contains a romantic soul ballad ("Stay By My Side") as well as the original version of "Find My Way," which is the sort of smooth yet funky disco-soul that groups like the Trammps and Double Exposure were known for in the late '70s. But for the most part, this is an album of aggressive, unapologetically gritty funk. On classics like "Rigor Mortis," "Funk, Funk," and "Post Mortem," one can pinpoint Cameo's influences — namely, Parliament/Funkadelic, the Ohio Players, and the Bar-Kays. But at the same time, these gems demonstrate that even in 1977, Cameo had a recognizable sound of its own. And ultimately, Cameo would become quite influential itself. For funk lovers, Cardiac Arrest is essential listening.

Get this Classic Funk here

Monday, March 3, 2008

I had this treasure on mp3 for a long time, but I couldn’t find the vinyl.
Finally my lucky day came a few days ago.
One of the few soul LP's at this disco label and seldom seen.
A quality soul LP with harmony vocals, great arrangements, produced by the great David Porter.
One of the albums I always come back and enjoy.

This is a @320 vinyl rip of my original Prelude record with covers.

A1. I Know I Didn’t Do You Wrong (3.35)
A2. Give Yourself to Me (3.08)
A3. Leaving Me (3.59)
A4. Call Me (3.35)
A5. Live While You Can (3.36)

B1. Party Pt. 1and2 (6.21)
B2. Ain’t No Need of Crying (3.29)
B3. On Fire (3.44)
B4. Let Him Go (4.08)

Silk was comprised of ex-Independents (Leaving Me) Maurice Jackson and Aaron Eric Thomas, along with Arthur Reid. David Porter (Isaac Hayes old collaborator Soul Man) produced the LP in Jackson, MS, at Tommy Couchs renowned Malaco Studios with mostly Memphis musicians. Except for Porters Southern jerker "Aint No Need of Crying", Silk members wrote all the tunes, including jewel-case gems "I Know I Didnt Do You Wrong", which is sweet, gutty, and sincere, and "Let Him Go", which is lilting and passion-filled. And listeners wont skip past the LPs best dancer, "Give Yourself to Me", or the uplifting "Live While You Can".
It is a great record by a great group.

The '70s R&B trio Silk was one of the many groups to arrive from that genre in the wake of classic Motown and during the heyday of their native Philadelphia scene. The group was never as famous as most of their contemporaries, but they still managed to release two albums before they disbanded in the late '70s, 1977's Smooth as Silk and 1977's Silk.
Not to be confused with 90's R'n'B Silk.

Get this smooth soul here

Saturday, March 1, 2008

Jimi Silawanebessy (his real name) was born in Bogor, Indonesia in 1949 and he came to Holland when he was just one year old. He first was a member of a group called Witch Concern and started his solo-career in 1970, which meant recording singles and performing with a coverband for American soldiers in Germany and Holland, where Jimmy often became James Brown and/or Wilson Pickett. In '74 his singles were compiled on the Polydor album The Best Of Jimmy Bellmartin, including So Fine, on which you may recognise the backing vocals of a famous female trio: Patricia Paay, Yvonne Keeley and Anita Meyer. Jimmy is still performing today and hopes to record his next album with producer Ernst Jansz (of Doe Maar-fame). He wants to do an acoustic album this time, but still as a soulsinger [Dutch Rare Groove Artists]

Track list;
01 - Make You Believe I Love You. 3:06
02 - Why Don't You Send Me. 3:39
03 - Movie Star. 3:54
04 - Beautiful. 3:50
05 - So Fine. 2:51
06 - Tell Me Do You Believe. 4:17
07 - Morning Rainbow. 2:43
08 - Send Me A Letter. 3:43
09 - You're A Lady. 3:28
10 - I Didn't Know. 4:08
11 - Fool. 2:24
12 - Are You Gonna Sock It To Me. 2:48
13 - Rainy Day. 3:45
14 - It's All Over. 3:34

192k @ [Sendspace]

Style; Soul

Ballin'jack - 1974 - Live And In Color
Mercury SRM 1-700

With the line-up stripped down to a foursome,
Ballin'jack knew that their appeal was always their live energy.
So when it was time to make another album, they decided to do it live.
Side one of this 1974 Mercury LP featured all new material not yet recorded prior to this memorable performance.

Tracks :
A1 Runaway People 5:00
A2 Tycoon Bufoon 4:34
A3 If You Don't Like My Music 3:37
A4 Peace and Harmony 5:31

B1 Two Years (prelude) 1:50
B2 Big Dealer 3:52
B3 Special Pride 8:53
B4 Hold On 8:40

Ron Hammon (Drums, Percussion)
Luther Rabb (Bass, Lead Vocals)
Jim Coile (Sax, Flute)
Glenn Thomas (Guitar)
King Erisson (Congas)

Bio :
Luther Rabb and Ronnie Hammon originally formed Ballin'jack in their hometown of Seattle, Washington in 1969. Getting encouragement and inspiration from the sudden success of their childhood friend Jimi Hendrix, they added Glenn Thomas on guitar and a compliment of horns including long time musicians like Jim Coile and Tim McFarland. They moved to Los Angeles, California where there are many stories of famous people visiting their big mansion home-studio near the Sunset Strip. Ballin'jack's reputation was that live their shows were so good that fans were known to have left afterwards, and that some headliners had actually refused to have them again as an opening act. This didn't seem bother Jimi all too he aksed his old school mates to come along with him on his 1970 "Cry Of Love" tour. During 1969-74 Ballin'jack headlined up and down the West Coast and went on nationwide US tours warming up for many legendary bands at famous venues like the Fillmore East and West and was on the bill of several large "Pop Festivals" of the era. They went as far as Japan with great reception.

Ballin'jack's studio recordings hold true as archives of some very cool and spiritually diverse music. Their songs have broad appeal, containing purely original beats, rich soulful melodies and plenty of good old-fashioned "Wah-Wah" guitar. In the years to come, many of their funky, yet organic sounds were re-discovered by live DJ's (who still spin LP records). In 1989, Young MC won a Grammy award for the hit single "Bust A Move" using a looped lick taken from the their song "Found A Child". Sampled by many since, the Hip-Hop movement found that... the grooves Ballin'jack had originally laid down over 30 years ago… were in fact, original.

Ballin'jack had released three studio and one live album before disbanding in 1974. Luther & Ronnie worked on solo projects and other music ventures as a bass and drum team and both had a long running gig as members of the War (The Music Band).

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