Monday, July 30, 2007
UZMA - 1994 - Ella Gonda Mu
UZMA - ELLA GONDA MU (1994)01 Ella Gonda Mu
02 Inima
03 Eshek
04 Kohani
05 Kypros
06 Baba Yaga
DOWNLOAD LINK
Harri (real name Harris) Kakoulli has been involved in writing, producing & mixing world music for the last fifteen years. He also has worked as an artist, writing & producing his own work. He's now built a formidable reputation as one of the world's leading producers of world dance, trance, chill, lounge & mid-tempo music. He has gathered great reviews.
Harri produced, created & mixed the first two compilations Fuse 1 and Fuse 2 and recorded tracks as an artist, producer and writer under the name Loca with Natacha Atlas and Uzma with Natacha Atlas & Zaharema for world music label Nation Records. He has recorded collaborations with many of the top world music artists. See www.harrikakoulli.com for full details.
Harri worked for eight months in Nigeria with various artists and collected some unusual sounds for future projects. Since then he's been working on his own material in London and Cyprus. - myspace
"He’s worked with names like, Charlie Gillet who got him into the Dance Scene, even crossing paths eighteen years ago with our very own Nick Power and Mike Hadjimike, followed by a long string of super stars including; Jocelyn Brown, Maxi Priest, Talvin Singh, King Sunny Ade, Joi, Sandra Cross, Gypsy Rose and the massive Ukranians, to mention but a few. This guy has been everywhere, with everyone, from Africa to Ministry of Sound! He said “ it’s a weird concept, but everything has to be right for me to create, I’m very spiritual, you know, candles, incense and all the equipment has to be down low” It’s no wonder he and Paris, hit it off! Now, when you realise that the best part of the CD was created over the net, you’ll start to understand their communication. I suppose you could say, that Harri Kakoulli is to music what Paris is to cuisine. He started the Ethnic World Dance scene some fifteen years ago, a touch ahead of schedule. Pioneer or what? Harri is moving to Cyprus, we should all welcome such a talent back to these shores, it’s our pleasure." - Tony Dynamou
Labels: Dgrador, U Links to this post 
Dobie Gray - 1973 - Drift Away
Soul? Country? Pop? or all of them in a fine blend?Dobie Gray never had the consistent recording career that, judging from his output, he surely deserved. Poor promotion, contract difficulties, bankrupt record labels...something always seemed to creep up and crush his career in its tracks. But with indefatigable energy, he kept on pushing, with the net result being only three Top 40 songs spanning fifteen years. "Drift Away" was the kind of song that had to make it, no matter how many curveballs it needed to dodge, simply because it was such a great record. Other great records of his fared much worse, but "Drift Away" was tenacious enough to float to position #5 on the strength of its lingering melody and Gray's melancholy but soulful voice.
Decca DL7 5397 LP
Tracks
A1. Drift Away
A2. The Time I love You The Most
A3. L.A. Lady
A4. We Had It All
A5. Now That I'm Without You
B1. Rockin' Chair
B2. Lay Back
B3. City Stars
B4. Sweet Lovin' Woman
B5. Caddo Queen
B6. Eddie's song
Some six years before Dobie Gray laid down his debut long-player Drift Away (1972), the vocalist had established himself as a seemingly 'one-hit wonder' with "The 'In' Crowd," scoring additional attention with "See You at the 'Go-Go'" and "Out on the Floor." While the latter pair barely made an impact on the charts Stateside, both were considered classics throughout Europe — especially among fans within the U.K.'s Northern Soul community. Gray additionally tried his hand at acting, resulting in participation in the Los Angeles cast of Hair and as becoming a member of a jazz-rock outfit called Pollution. A fortuitous collaborative partnership with Mentor Williams — brother of noted composer/musician/actor Paul Williams — led to a deal with Decca/MCA and ultimately to a Mentor Williams' tune that would become Gray's signature, "Drift Away," which also soared into the Top Five of the Pop survey in March of 1973, giving Decca their final Gold single prior to the label's collapse into their MCA Records parent company. The entire effort reflects the same insouciant vibe of the familiar title track with Gray's Nashville-based backing band featuring Williams (guitar), Mike Leech (bass), Reggie Young (guitar), Troy Seals (guitar), David Briggs (keyboards) and Kenny Malone (drums) with Weldon Myrick (pedal steel guitar) and Buddy Spicher (fiddle) augmenting the lineup. Williams, Seals and Jennings provide a wide array of material, ranging from the driving "The Time I Loved You the Most," "Rockin' Chair" and the swampified funk-blues of "Lay Back" to the stunningly poignant acoustic ballad "We Had It All." "Sweet Lovin' Woman" is another refined love song with a slightly countrified lilt that is perfectly matched to Gray's sensual expressiveness, clearly pointing in the direction that Gray's subsequent endeavors would take. In 2004, a remastered version of Drift Away was included along with the other half-dozen LPs Gray recorded during the 1970s on Hip-O Select's four-disc The Complete Dobie Gray (1969-1979) box set.Watch "Drift Away"
and
Get The Album @320 here
Labels: D, G, nikos1109 Links to this post
Friday, July 27, 2007
Side Effect - 1976 - What You Need
Great jazzy Funk - Soul from this oft-overlooked 70s group. This album's a darn tough one to find -- and is probably their best LP for Fantasy, if not their best of the 70s! The record contains their hit versions of "Always There" and "Keep That Same Old Feeling", plus "Life is What You Make It" and "Honky Tonk Scat". Nice jazzy soulful production, courtesy of Wayne Henderson/At Home Productions -- and the kind of groove that was transforming modern soul at the time!
Tracks
1. Always There - 5:04
2. Keep That Same Old Feeling - 7:06
3. Time Has No Ending - 3:55
4. S.O.S - 4:06
5. Honky Tonk Scat - 3:45
6. Finally Found Someone - 2:53
7. Changes - 3:36
8. Life Is What You Make It - 2:54
9. I Know You Can - 6:28
Side Effect reached its creative peak with the Wayne Henderson-produced What You Need, which was the group's second album as well as its best one. This time, the songs weren't simply decent — they were excellent, and Side Effect had a gem of a female vocalist to help bring them to life. The quartet's new female singer was Helen Lowe, who had replaced Sylvia Nabors. While Nabors was competent, the brassy, big-voiced Lowe was a treasure — and she shows herself to be major asset on the hit "S.O.S." and a remake of Ronnie Laws' "Always There," which was originally a soul-jazz instrumental in 1975 but becomes a gutsy vocal tune thanks to added lyrics by Paul Allen. Equally strong are the funky "Honky Tonk Scat," the mournful ballad "Changes," and a cover of the Crusaders' "Keep That Same Old Feeling." Regrettably, What You Need was Lowe's only album with Side Effect, and it's equally regrettable that she didn't go on to become huge as a solo artist.
Bio
Tracks
1. Always There - 5:04
2. Keep That Same Old Feeling - 7:06
3. Time Has No Ending - 3:55
4. S.O.S - 4:06
5. Honky Tonk Scat - 3:45
6. Finally Found Someone - 2:53
7. Changes - 3:36
8. Life Is What You Make It - 2:54
9. I Know You Can - 6:28
Side Effect reached its creative peak with the Wayne Henderson-produced What You Need, which was the group's second album as well as its best one. This time, the songs weren't simply decent — they were excellent, and Side Effect had a gem of a female vocalist to help bring them to life. The quartet's new female singer was Helen Lowe, who had replaced Sylvia Nabors. While Nabors was competent, the brassy, big-voiced Lowe was a treasure — and she shows herself to be major asset on the hit "S.O.S." and a remake of Ronnie Laws' "Always There," which was originally a soul-jazz instrumental in 1975 but becomes a gutsy vocal tune thanks to added lyrics by Paul Allen. Equally strong are the funky "Honky Tonk Scat," the mournful ballad "Changes," and a cover of the Crusaders' "Keep That Same Old Feeling." Regrettably, What You Need was Lowe's only album with Side Effect, and it's equally regrettable that she didn't go on to become huge as a solo artist.Bio
If the O'Jays, the Dramatics, or Bloodstone had added a female singer and incorporated bebop-influenced harmonies, they might have sounded something like Side Effect — a distinctive soul and funk vocal quartet of the '70s and early '80s. Side Effect was never a big name in R&B — and its material wasn't as consistently strong as that of the O'Jays — but it did have a recognizable and appealing sound. The group was formed in Los Angeles in May 1972, when it started out as an all-male trio and consisted of Louis Patton, Gregory Matta, and leader Augie Johnson. The latter had been singing since childhood — in fact, Johnson was among the kids who sang on Frank Sinatra's 1959 hit "High Hopes." Side Effect became a quartet when, in 1974, Johnson, Patton, and Matta decided to add a female vocalist and hired L.A. native Sylvia Nabors. In 1975, Side Effect signed with Fantasy and recorded its self-titled debut album, which was, like subsequent efforts, produced by Wayne Henderson of Crusaders fame. By the time Side Effect recorded its second album, What You Need, in 1976, Nabors had been replaced by Helen Lowe. Then, in 1977, Lowe was replaced by Sylvia St. James, who recorded with the group in 1977 and 1978. St. James' subsequent replacement was Miki Howard, a talented singer who sang with the group for a few years before signing with Atlantic in 1986 and becoming well known as a solo artist.
Get it here @256
Labels: nikos1109, S Links to this post
Wednesday, July 25, 2007
The East New York Ensemble de Music - 1974 - At The Helm
The East New York Ensemble de Music - 1974 - At The Helmfolkways Ikef07
Tracks :
01. Mevlana
02. Ti-ti
03. Sun Flower
04. Bent-El-Jerusalem
Personnel :
Bilal Abdurahman – Soprano Sax, Korean Reed
Ameen Nuraldeen – Vibraphone
Qasim Ubaindullah – Drums
James Smith – Bass
Jay Rose – Turkish Drum
Bobby Harvey – Conga Drums
Rahkiah Abdurahman – African Twin Gong
Multi-reed player Bilal Abdurrahman was best known for his musical partnership with the trailblazing bassist/oudist (and sideman for Monk and Randy Weston) Abdul Ahmed Malik from the late '50s into the mid-'60s. Their music—which predated better-publicized fusions of ethnic musics and jazz by half a decade—was documented on five LPs for Riverside, RCA, and New Jazz ( East Meets West , Jazz Sahara , The Music of Ahmed Abdul Malik , Eastern Moods , Sounds of Africa ). Several of these have been reissued and are currently on my “must get” list. Unlike those LPs, I never knew this one existed! Released on the not-for-profit Folkways label in 1974, At The Helm is the only surviving document of Abdurahman's own Black Magical Music.
The puckish humor evident in the band's name doesn't so much come across in the music (a la Breuker, Carla Bley, et al.) as it does in their kitchen sink approach to musical eclecticism. The Ensemble is actually a collaboration between Abdurahman and vibraharpist and composer Ameen Nuraldeen. Nuraldeen's compositions deftly mix the somewhat loopy, exotica-derived sounds one might find on Sun Ra's early recordings with an authoritative, groove-oriented, early-'70s Afro-modal jazz sensibility. Prominently odd amongst the more subtly odd moments on At The Helm is the cover of Freddie Hubbard's “Little Sunflower”—a minor hit of sorts amongst '70s jazz fans which daringly opens with an extended improvisation on a bizarre-sounding non-tempered Korean reed instrument (possibly a senap—but I am just guessing). This is not done merely for exotic effect; Abdurahman plays the untamed, unnamed instrument with the same soul and passion he displays on his main axe.
Why he wasn't better known, I will never know—his technique, sound and intonation are distinctive and superb throughout. Nuraldeen is a forceful, percussive player who revels in the vibraphone's bright bell-like tones while eschewing the clanky, clangy sounds that many players of this ilk fall prey to.
The supporting players—all even more obscure than the leaders—provide an organic propulsive rhythmic base throughout. Another pleasant surprise is is the very crisp sound quality—unusual for Folkways recordings.
At The Helm presents us with a convincing fusion of jazz, African, Asian, and Middle Eastern ethnic musics in which the immediacy and power of jazz is never diluted by the ethnic influences, and vice versa.
By Dave Wayne (allaboutjazz.com)
Get it here @320
http://rapidshare.com/East_New_York_Ensemble_de_Music.rar
Tracks :
01. Mevlana
02. Ti-ti
03. Sun Flower
04. Bent-El-Jerusalem
Personnel :
Bilal Abdurahman – Soprano Sax, Korean Reed
Ameen Nuraldeen – Vibraphone
Qasim Ubaindullah – Drums
James Smith – Bass
Jay Rose – Turkish Drum
Bobby Harvey – Conga Drums
Rahkiah Abdurahman – African Twin Gong
Multi-reed player Bilal Abdurrahman was best known for his musical partnership with the trailblazing bassist/oudist (and sideman for Monk and Randy Weston) Abdul Ahmed Malik from the late '50s into the mid-'60s. Their music—which predated better-publicized fusions of ethnic musics and jazz by half a decade—was documented on five LPs for Riverside, RCA, and New Jazz ( East Meets West , Jazz Sahara , The Music of Ahmed Abdul Malik , Eastern Moods , Sounds of Africa ). Several of these have been reissued and are currently on my “must get” list. Unlike those LPs, I never knew this one existed! Released on the not-for-profit Folkways label in 1974, At The Helm is the only surviving document of Abdurahman's own Black Magical Music.
The puckish humor evident in the band's name doesn't so much come across in the music (a la Breuker, Carla Bley, et al.) as it does in their kitchen sink approach to musical eclecticism. The Ensemble is actually a collaboration between Abdurahman and vibraharpist and composer Ameen Nuraldeen. Nuraldeen's compositions deftly mix the somewhat loopy, exotica-derived sounds one might find on Sun Ra's early recordings with an authoritative, groove-oriented, early-'70s Afro-modal jazz sensibility. Prominently odd amongst the more subtly odd moments on At The Helm is the cover of Freddie Hubbard's “Little Sunflower”—a minor hit of sorts amongst '70s jazz fans which daringly opens with an extended improvisation on a bizarre-sounding non-tempered Korean reed instrument (possibly a senap—but I am just guessing). This is not done merely for exotic effect; Abdurahman plays the untamed, unnamed instrument with the same soul and passion he displays on his main axe.
Why he wasn't better known, I will never know—his technique, sound and intonation are distinctive and superb throughout. Nuraldeen is a forceful, percussive player who revels in the vibraphone's bright bell-like tones while eschewing the clanky, clangy sounds that many players of this ilk fall prey to.
The supporting players—all even more obscure than the leaders—provide an organic propulsive rhythmic base throughout. Another pleasant surprise is is the very crisp sound quality—unusual for Folkways recordings.
At The Helm presents us with a convincing fusion of jazz, African, Asian, and Middle Eastern ethnic musics in which the immediacy and power of jazz is never diluted by the ethnic influences, and vice versa.
By Dave Wayne (allaboutjazz.com)
Get it here @320
http://rapidshare.com/East_New_York_Ensemble_de_Music.rar
Labels: E, Opa-Loka Links to this post
The Intruders - 1968 - Cowboys To Girls
One of the sweetest soul records ever made ,yes soul, it gets to your soul.I like almost every song of their discography.
A very rare find. Never released on cd (only their greatest hits).
It took me a long time to find a near mind copy of this vinyl to rip it for you, soul brothers and sisters. So this is your only chance to have the complete original album (320@) of this wonderful vocal group.
The Intruders were instrumental in helping define what would become known as Philly Soul. This vocal quartet was the first signing to Gamble & Huff's Excel label (changed soon after to Gamble Records) in 1965. With these records, Gamble & Huff began to develop the production style which would reach its peak in the '70s with the O'Jays, Billy Paul, and Harold Melvin & the Bluenotes.
The Intruders' trademark was the endearingly off-key lead vocals of Sam "Little Sonny" Brown. Brown's shaky voice was a good match for such novelty numbers as "(Love Is Like A) Baseball Game," and the R & B number one "Cowboys To Girls." He also projected a warm innocence on romantic ballads.
Tracks
A1. Cowboys To Girls
A2. Turn The Hands Of Time
A3. (So Glad I’m) Yours
A4. It Must Be Love
A5. Call Me
A6. Sad Girl
B1. (Love Is Like) A Baseball Game
B2. Friends No More
B3. By The Time I Get To Phoenix
B4. Everyday Is A Holiday
B5. Good For Me Girl
A2. Turn The Hands Of Time
A3. (So Glad I’m) Yours
A4. It Must Be Love
A5. Call Me
A6. Sad Girl
B1. (Love Is Like) A Baseball Game
B2. Friends No More
B3. By The Time I Get To Phoenix
B4. Everyday Is A Holiday
B5. Good For Me Girl
The Intruders cracked the pop charts with the title cut, which is still their best-known song. It topped the R&B hit list and made it to number six on the pop side. The rest of the album have wonderful ballads, and was their biggest LP overall.
As the first group to score hits with the songwriting/production team of Kenny Gamble and Leon Huff, the Intruders played a major role in the rise of Philadelphia soul, but are sometimes lost in the shuffle amid better-known acts like the O'Jays or Harold Melvin & the Blue Notes. The Intruders were originally formed as a doo wop group in 1960, and sang around Philadelphia for several years. Lead singer Sam "Little Sonny" Brown, Eugene "Bird" Daughtry, Phil Terry, and Robert "Big Sonny" Edwards signed with Gamble and Huff's fledgling Gamble label in 1966. They scored a Top 20 R&B hit that year with "(We'll Be) United," and followed it up a year later with "Together," as well as their first album, The Intruders Are Together. 1968, though, was the Intruders' breakthrough year: "Cowboys to Girls," a template for what would become Philly soul's trademark sound, topped the R&B charts and climbed to number six on the pop side, giving the group their biggest hit. The follow-up, "(Love Is Like A) Baseball Game," was their only other Top 40 pop hit, and the accompanying LP, Cowboys to Girls, wound up their most popular.Gamble and Huff's success with the Intruders helped convince Columbia to grant them the money to launch Philadelphia International, which became the most successful soul label of the early '70s. The Intruders, meanwhile, were undergoing some internal turmoil; when they resurfaced on the 1970 Gamble LP When We Get Married, lead singer "Little Sonny" Brown had been replaced by nightclub singer Bobby Starr (born Robert Ferguson). The title cut, a Dreamlovers cover, was a hit on the R&B charts, as was the follow-up, "(Win, Place or Show) She's a Winner." Starr's tenure with the group was short-lived; Brown returned for the 1973 LP Save the Children, which spawned the Intruders' last two big hits, "I'll Always Love My Mama" and "I Wanna Know Your Name." For the 1974 follow-up, Energy of Love, the Intruders were switched from the Gamble imprint to the Philly International subsidiary TSOP; however, it was less successful than the quartet's previous releases, and they disbanded in 1975.
Watch and listen this incredible song here
and
Download "Cowboys To Girls" album here
Labels: I, nikos1109 Links to this post
Saturday, July 21, 2007
The Spirit Of Atlanta - 1973 - The Burning Of Atlanta
The Spirit Of Atlanta - The Burning Of Atlanta '1973
[Buddah Records BDS 5135 ST]
And now is the time for incredible funk! This stuff is so baaaddd, that's it surely kick your ass upp to the skyes for a deep groovy journey! Just look up to the front cover-art and the badddasss pimps on the back - could it be funkier!? Surely not! One of my alltime beloved funk albums.
AMG Review by Jason Ankeny:
While essentially a vanity project for composer/producer/arranger Thomas Stewart, backed here by a cadre of "Hot 'Lanta" session players, The Burning of Atlanta is nevertheless an excellent funk LP that boasts the panoramic scope of a classic blaxploitation soundtrack. With the vocals embedded deep in the mix, the emphasis lies squarely on the record's intensely hypnotic grooves — most of the tracks extend past the five-minute mark, with the epic "Messin' Around" clocking in at nearly twice that total. Stewart's dramatic melodies also boast a sheen recalling Curtis Mayfield's classic Superfly — and just in case you couldn't place the reference, there's even an answer song: "Freddie's Alive and Well."
Tracklisting:
A1 Hunter Street (4:10)
A2 Buttermilk Bottom (3:49)
A3 Peachtree Street (4:40)
A4 Auburn Avenue (4:50)
A5 Vine City (8:33)
B1 Freddie's Alive And Well (4:24)
B2 Messin' Around (9:34)
B3 Down Underground (5:11)
Download links - MP3 / 320 kbps:
Download links - MP3 / 320 kbps:
Soul brothers & sisters waiting for your comments on this gem!
Enjoy!
Labels: Musicdawn, S Links to this post
Friday, July 20, 2007
Mel & Tim - 1969 - Good Guys Only Win In The Movies
Fantastic harmony soul LP with great Chicago soul production by Gene Chandler, and singing from Mel & Tim that will blow your mind! The tracks are a fantastic example of the sort of psychedelic soul sound that was coming out of Chicago at the time -- with tight catchy hooks in the songs, soaring soulful harmonies, and excellent instrumentation that has some good fuzzy bits and nice hard drums.
Every track's a winner, but our faves are the title cut, plus "I've Got Purdee", "Caught You In The Act", "Mail Call Time", the heavy "Feeling Bad", and "Ain't Love Wonderful". Also includes their big hit "Backfield In Motion".
Bamboo LP BMS8001 - 1969
Tracks
1. Good Guys Only Win In The Movies
2. Forget It, I've Got It
3. I've Got Puredee
4. Feeling Bad
5. Groovy Situation
6. Backfield In Motion
7. Caught You In The Act
8. I Found That I Was Wrong
9. Mail Call Time
10. Ain't Love Wonderful
Bonus Tracks
11. Do Right Baby - (mono, reissue only)
12. Never On Time - (mono, reissue only)
13. We've Got The Groove To Move You - (mono, reissue only)
14. I'm The One - (mono, reissue only)
15. Put An Extra Plus To Your Love - (mono, reissue only)
2. Forget It, I've Got It
3. I've Got Puredee
4. Feeling Bad
5. Groovy Situation
6. Backfield In Motion
7. Caught You In The Act
8. I Found That I Was Wrong
9. Mail Call Time
10. Ain't Love Wonderful
Bonus Tracks
11. Do Right Baby - (mono, reissue only)
12. Never On Time - (mono, reissue only)
13. We've Got The Groove To Move You - (mono, reissue only)
14. I'm The One - (mono, reissue only)
15. Put An Extra Plus To Your Love - (mono, reissue only)
Chicago soul duo Mel & Tim were cousins -- Mel Hardin and Tim McPherson -- who actually hailed from Holly Springs, MS, and made their way to Chicago via St. Louis. They were discovered by Gene Chandler and signed to his Bamboo label in 1969, when they scored a Top Ten pop and R&B single with the good-humored classic "Backfield in Motion." The follow-up, "Good Guys Only Win in the Movies," supplied the title for their first album and hit the R&B Top 20 later that year. Mel & Tim subsequently moved to Stax, where they landed a second Top Five R&B smash with the ballad "Starting All Over Again" (also the title track of their second album). Mel & Tim performed at the late-1972 charity concert Wattstax and were featured in the documentary film of the same name, singing "I May Not Be What You Want." Their self-titled final album appeared in 1973, after which the cousins faded away from the music scene.“...The harmonies are strong and full of energy, and their trademark high harmony stop/go breaks as satisfying as it gets.” - discoveries
“...The consistency of this album places it one up on some of its competitors...Though many soul albums from this time period were a hit or two surrounded by covers, this is nothing of the sort. Nearly every cut on the original album is a winner...” - Goldmine
“Mel Harden and Tim McPherson have that special gospel touch as they rip into songs with enough power to shame that other super soul act of the times—Sam & Dave.” - Dirty Linen
Take this classic album here @320
Mel___Tim_-_1969_-_Good_Guys_Only_Win_In_The_Movies.rar
Labels: M, nikos1109, T Links to this post
Wednesday, July 18, 2007
One Drop Fwd - Knowledge
ONE DROP – THE HISTORY
Formed in 1991 by a musical crew of friends in Thessaloniki and after a period of changes of members and names (such as: ROCK DREADY BEAT,IRIE,RAGGA MAFIA and more) today you’ll see on stage performing: STEFANATTY-Songwriter,lead&back vocals MOUKAS-Songwriter,lead&back vocals,guitars MAQUITTO-Bass MIGIAGI-Guitars,vocals,comp. ZIKAS-Drums SISTAH SOFIA-Vocals ANTOIN-Saxophone PANAGIOTAKIS-Trumpet MENELAOS-Trompone JAHKEIM-Percussions,pos.vibes . VAGELIS-Sound Engineering, STELAKIS-Sound Engineering.
Having played allover Greece, in 2004 they became International by touring in Spain (Barcelona,Zaragosa,Llaudio). They’ve playedat all kind and size of stages,inclouding Anti-War,-Racism and-Capitalism Concerts as well as the 1st and 2cnd RASTAVIBE Festival(along with artists as Max Romeo,Dennis Alcapone,Mad Professor and more)while preparing for the 3rd.With members born from the late sixties to the mid eighties,the group lives in the present and evolves by staying aware ina world dat’s changing
LIVE
07/22/2007 12:00 PM - P.A.F.(Grafity fest.)Pelekas,Kerkyra(Corfu)
Pelekas, Kerkyra (Corfu), Pelekas, Kerkyra (corfu), - -One Drop Forward Live at the Pelekas Art Fetsival-P.A.F.
08/05/2007 08:00 PM - Int.Juggling Convention
Old Airport Fascillities Athens, Athens, - ?International Juggling Convention
08/11/2007 08:00 PM - Live at Chania, Crete
Theatro Anat. Tafrou, Chania Crete, Chania, - E 30 Tonino Carotone, One Drop Forward, Biri Biri Live at the Thearte Anatolikis Tafrou Chania, Crete
08/12/2007 08:00 PM - One Drop Forward, Anna Mystic at Technopolis, Irakleio Crete
A.Papandreou 116, Amoudara, Irakleio, Crete, Irakleio, - E 10 One Drop Forward Live with dj Anna Mystic at the turntables...
LIVE
07/22/2007 12:00 PM - P.A.F.(Grafity fest.)Pelekas,Kerkyra(Corfu)
Pelekas, Kerkyra (Corfu), Pelekas, Kerkyra (corfu), - -One Drop Forward Live at the Pelekas Art Fetsival-P.A.F.
08/05/2007 08:00 PM - Int.Juggling Convention
Old Airport Fascillities Athens, Athens, - ?International Juggling Convention
08/11/2007 08:00 PM - Live at Chania, Crete
Theatro Anat. Tafrou, Chania Crete, Chania, - E 30 Tonino Carotone, One Drop Forward, Biri Biri Live at the Thearte Anatolikis Tafrou Chania, Crete
08/12/2007 08:00 PM - One Drop Forward, Anna Mystic at Technopolis, Irakleio Crete
A.Papandreou 116, Amoudara, Irakleio, Crete, Irakleio, - E 10 One Drop Forward Live with dj Anna Mystic at the turntables...
You can get their music free here
ONE DROP FWD - KNOWLEDGE
Lyrics
LIVE FROM LEGALIZE CANNABIS PROTESTIVAL 2007
Good quality video --- 67mb size
More videos here
Enjoy
Labels: JANISFARM, O Links to this post
Stan Getz & Joao Gilberto - Live at Carnegie Hall 1964
Getz/Gilberto, is an album released by the American Stan Getz and the Brazilian João Gilberto, featuring Antonio Carlos Jobim, in 1964.Its release created a bossa nova craze in the United States, and subsequently internationally. It brought together saxophonist Stan Getz, who had already performed the genre on his LP Jazz Samba, João Gilberto (one of the creators of the style), and Jobim, a celebrated Brazilian songwriter, who wrote most of the songs in the album. It became one of the best-selling jazz albums of all times, and turned singer Astrud Gilberto, who sang on the track of "The Girl from Ipanema" and "Corcovado", into an international sensation. An interesting tidbit about this recording is that producer Creed Taylor kept the recording in a drawer for a year before releasing it, for reasons known only to him.
It won the 1965 Grammy Awards for Best Album of the Year, Best Jazz Instrumental Album - Individual or Group and Best Engineered Album, Non-Classical. "The Girl from Ipanema" also won the award for Best Record of the Year.
This album was recorded live on October 9, 1964 in Carnegie Hall and supposedly as a result of an affair going between Astrud Gilberto and Stan Getz, João doesn't play with them at all, but with his own trio instead. Astrud appears mostly on jazz standards with Stan while João perform his classical repertoire Rosa Morena, Bim Bom, Meditação, etc. This was also the last album João did in USA and also last one for a period of 6 years. However, João and Stan rejoined in 1976 with João's second wife Miucha on The Best of Two Worlds.
Tracks
1.: Grandfather's Waltz
2.: Tonight I Shall Sleep With A Smile On My Face
3.: Stan's Blues
4.: Here's That Rainy Day
5.: Samba Da Minha Terra
6.: Rosa Morena
7.: Um Braco No Bronfa
8.: Bim Bom
9.: Meditations
10.: O Pato
11.: It Might As Well Be Spring
12.: Only Trust Your Heart
13.: Corcovado (Quiet Nights Of Quiet Stars) (bonus track)
14.: Girl From Ipanema
15.: Eu E Voce
2.: Tonight I Shall Sleep With A Smile On My Face
3.: Stan's Blues
4.: Here's That Rainy Day
5.: Samba Da Minha Terra
6.: Rosa Morena
7.: Um Braco No Bronfa
8.: Bim Bom
9.: Meditations
10.: O Pato
11.: It Might As Well Be Spring
12.: Only Trust Your Heart
13.: Corcovado (Quiet Nights Of Quiet Stars) (bonus track)
14.: Girl From Ipanema
15.: Eu E Voce
Tracce 1 - 4
Stan Getz - sax tenore
Gary Burton - vibrafono
Gene Cherico - contrabbasso
Joe Hunt - batteria
Tracce 5 - 10
João Gilberto - chitarra, voce
Keter Betts - contrabbasso
Helcio Melito - batteria
Tracce 11 - 15
Stan Getz - sax tenore
João Gilberto - chitarra, voce
Gary Burton - vibrafono
Gene Cherico - contrabbasso
Joe Hunt - batteria
Astrud Gilberto - voce
@192
Enjoy
Labels: G, J, JANISFARM, S Links to this post
Double Dee & Steinski
THE LESSONS 1,2,3 PROMO 12inch (1986)
TRACKLIST:
Lesson One: The Payoff Mix
Lesson Two: The James Brown Mix
Lesson Three: The History of Hip Hop
"Forefathers of all the zanier aspects of turntablism, Double Dee & Steinski created a succession of extra-legal works of studio art -- "Lesson One: The Payoff Mix," "Lesson Two: The James Brown Mix," "Lesson 3: The History of Hip-Hop" -- that quickly became DJ landmarks and some of the most valued bootlegs in rap history. Steinski, born Steve Stein, was a DJ and record collector when he wasn't working as an ad writer. After hearing in 1983 of a nationwide competition to remix G.L.O.B.E. & Whiz Kid's "Play That Beat Mr. DJ" sponsored by Tommy Boy Records (official title: "Hey Mr. DJ Play That Beat Down by Law Switch the Licks Mastermix Contest"), he hooked up with Double Dee (Douglas DiFranco, a studio engineer) to produce "Lesson One: The Payoff Mix," a track that sprinkled the usual funk breakbeats with a parade of samples from feature films and cartoons, including all manner of pop-culture references. A panel including Afrika Bambaataa, Arthur Baker, and Shep Pettibone awarded it first prize after one listen, and the remix gained even more airplay than the original. Soul Brother No. 1 was next on the docket, and "Lesson Two: The James Brown Mix" introduced Clint Eastwood, Bugs Bunny, and instructional LPs into the mix. By the time of "Lesson 3: The History of Hip-Hop," the third record released by Tommy Boy, offended sample victims began demanding its removal from retail shelves, and for most hip-hop fans, Double Dee & Steinski entered the realm of the legendary.
While DiFranco went back to his engineering job, Steinski continued recording with "The Motorcade Sped On," a JFK tribute featuring samples from radio broadcasts, Walter Cronkite, the killing of Lee Harvey Oswald, and JFK himself. Subsequent records provided commentary on television ("We'll Be Right Back") and the Gulf War ("It's Up to You"), and Steinski also remixed for Frankie Goes to Hollywood. He also spent considerable time with his day job, but the duo's enormous influence on sampladelic hip-hop finally convinced him to release another, produced for the London-based, Coldcut-affiliated Solid Steel program. That record, Nothing to Fear: A Rough Mix, appeared in 2002 on the Soul Ting label." - John Bush
Labels: D, Dgrador, S Links to this post
James Carr - 1966 - You've Got My Mind Messed Up
The definite James Carr. This is what the expression "deep soul" signifies to me. Overwhelming.An incredible bit of southern soul -- one of two classic albums cut by James Carr for the Goldwax! At the time of release, this album virtually died in the racks -- but thanks to the work of countless music writers over the past few decades, Carr has finally achieved legendary status in the annals of soul music -- and this album's one of the best examples of his genius! Every track is a deep soul masterpiece -- and the album sparkles with production by Quinton Claunch and Rudolph Russell, and is filled with classic tracks like "The Dark End Of The Street", "You Got My Mind Messed Up", "She's Better Than You", "These Ain't Raindrops", and "Coming Back To Me Baby".
LP (Item 49548) Goldwax, 1966
Tracks (Original LP)
1.Pouring Water On A Drowning Man (2:37)
2. Love Attack (2:52)
3. Coming Back To Me Baby (1:56)
4. I Don't Want To Be Hurt Anymore (2:22)
5. That's What I Want To Know (1:54)
6. These Ain't Raindrops (2:32)
7. Dark End Of The Street (2:30)
8. I'm Going For Myself (2:23)
9. Lovable Girl (2:21)
10. Forgetting You (2:52)
11. She's Better Than You (2:20)
12. You've Got My Mind Messed Up (2:22)
Bonus Tracks
13. These Arms Of Mine (2:34)
14. You Don't Want Me (2:08)
15. There Goes My Used To Be (2:30)
16. A Lucky Loser (2:03)
17. Dixie Belle (2:21)
18. Search Your Heart (3:01)
19. Sock It To Me Baby! (2:11)
20. My Adorable One (3:25)
21. Love Is A Beautiful Thing (2:43)
22. Life Turned Her That Way (2:55)
23. A Losing Game (2:00)
24. What Can I Call My Own (2:47)
If ever there was a soul singer who rivaled Otis Redding's raw, deep emotional sensuality, it was James Carr, and the proof is in the pudding with You Got My Mind Messed Up. Carr was one of the last country-soul singers to approach any chart given to him as if it was a gift from God. Carr was Redding's rival in every respect if for no other reason than the release of this, his debut album recorded in 1966. The 12 songs here, many of them covered by other artists, are all soul classics merely by their having been sung and recorded by Carr. Among them is the Drew Baker/Dani McCormick smash "Pouring Water on a Drowning Man," George Jackson's "Coming Back to Me Baby," a handful of tracks by O.B. McLinton, including "Forgetting You" and the title track, and the Chips Moman/Dan Penn hit "Dark End of the Street." And while it's true that few have ever done bad versions of the song because of the phenomenal writing, there is only one definitive version, and that one belongs to Carr. In his version he sings from the territory of a heart that is already broken but enslaved both to his regret and his desire. This is a love so pure it can only have been illicit. When he gets to the beginning of the second verse, and intones "I know time is gonna take its toll," he's already at the end of his rope; he knows that desire that burns like this can only bring about ruin and disaster, and it is precisely since it cannot be avoided that his repentance is perhaps accepted by the powers that would try him and judge him. He holds the arrangement at bay, and unlike some versions, Carr keeps his composure, making it a true song of regret, remorse, and a love so forbidden yet so faithful that it is worth risking not only disgrace and destruction for, but also hell itself. As the guitar cascades down the fretboard staccato, he can see the dark end of the street and holds it as close to his heart as a sacred and secret memory. By the album's end with the title track, listeners hear the totality of the force of Memphis soul. With Steve Cropper's guitar filling the space in the background, Carr offers a chilling portrait of what would happen to him in the future. Again pleading with the beloved in a tone reminiscent of a church-singer hell, he's in the church of love. He pleads, admonishes, begs, and finally confirms that the end of this love is his insanity, which was a chilling prophecy given what happened to Carr some years later. This is one of theMemphis soul records of the mid-'60s, full of rough-hewn grace, passion, tenderness, and danger. A masterpieceGet it Here
james_carr_-_1966_-_you_got_my_mind_messed_up.rar
Labels: C, J, nikos1109 Links to this post
Monday, July 16, 2007
Cold Blood (US) - 1974 - Lydia
Cold Blood - 1974 - LydiaWarner Brothers 2806
Tracks
Side 1
1 Ready To Love (P. Smith / L.Hewitt)
2 Simple Love Life (P.Smith / R.Smith)
3 Under Pressure (F. Gowdy / G. Jones)
4 When My Love Hand Come Down (P. Sawyer / G. Jones)
5 When It's Over (A. Wayne)
Side Two
1 Consideration (S. Cropper)
2 I Only Want Someone To Hear Me (D. Presley / A. Rush)
3 You're Free Lovin' Me (S. Cropper / C. Marsh)
4 Come Back Into My Life Again (B. R. Charles)
5 Just Like Sunshine (P. Smith / R. Matute)
Musicians
On : Consideration, I Only Wanted Someone To Hear Me and You're Free Lovin' Me;
* Lydia Pense - vocals
* Raul Matute - organ, electric piano
* Tommy Cathey - bass
* Michael Sasaki - lead guitar
* Joe Williams - drums
* Paul Cannon - guitar
* Steve Cropper - guitar
* The Memphis Horns
On : Ready To Live, Simple Love Life, Under Pressure, When My Love Hand Comes Down, When It's Over, Come Back Into My Life Again and Just Like Sunshine;
* Lydia Pense - vocals
* Raul Matute - organ, clavinet, horn arrangements
* Smith Dobson - piano, electric piano, background vocals
* Gaylord Birch - drums
* Michael Sasaki - lead guitar
* Ron Ellicott - bass
* Danny Kootch - guitar
* Bobbye Hall - congas, percussion
* David Luell - alto saxophone, tenor saxophone, baritone saxophone
* Chuck Bennett - trombone
* Bobby Shew - trumpet
* Max Haskett - trumpet, background vocals
* Chuck Findley - trumpet
* Paul Hubinon - trumpet
* Jim Horn - saxophone, flute
* Pete Christlieb - tenor saxophone, flute, piccolo
* Don Menza - tenor saxophone, flute, piccolo
* Pat Coulter - background vocals
* Gwen Edwards - background vocals
* Brenda Gordon - background vocals
* Tish Smith - background vocals
* Brooks Hunnicutt - background vocals
Credits
* Producer - Steve Cropper
* Engineers - Robert Appere, Ron Capone
* Recorded at Trans- Maximus Sound Studios, Memphis; Clover Recorders, L.A
* Album Photography - Herb Greene
Info @ Wiki
Get it here @320
http://rapidshare.com/files/39656524/Cold_Blood-Lydia.rar
Tracks
Side 1
1 Ready To Love (P. Smith / L.Hewitt)
2 Simple Love Life (P.Smith / R.Smith)
3 Under Pressure (F. Gowdy / G. Jones)
4 When My Love Hand Come Down (P. Sawyer / G. Jones)
5 When It's Over (A. Wayne)
Side Two
1 Consideration (S. Cropper)
2 I Only Want Someone To Hear Me (D. Presley / A. Rush)
3 You're Free Lovin' Me (S. Cropper / C. Marsh)
4 Come Back Into My Life Again (B. R. Charles)
5 Just Like Sunshine (P. Smith / R. Matute)
Musicians
On : Consideration, I Only Wanted Someone To Hear Me and You're Free Lovin' Me;
* Lydia Pense - vocals
* Raul Matute - organ, electric piano
* Tommy Cathey - bass
* Michael Sasaki - lead guitar
* Joe Williams - drums
* Paul Cannon - guitar
* Steve Cropper - guitar
* The Memphis Horns
On : Ready To Live, Simple Love Life, Under Pressure, When My Love Hand Comes Down, When It's Over, Come Back Into My Life Again and Just Like Sunshine;
* Lydia Pense - vocals
* Raul Matute - organ, clavinet, horn arrangements
* Smith Dobson - piano, electric piano, background vocals
* Gaylord Birch - drums
* Michael Sasaki - lead guitar
* Ron Ellicott - bass
* Danny Kootch - guitar
* Bobbye Hall - congas, percussion
* David Luell - alto saxophone, tenor saxophone, baritone saxophone
* Chuck Bennett - trombone
* Bobby Shew - trumpet
* Max Haskett - trumpet, background vocals
* Chuck Findley - trumpet
* Paul Hubinon - trumpet
* Jim Horn - saxophone, flute
* Pete Christlieb - tenor saxophone, flute, piccolo
* Don Menza - tenor saxophone, flute, piccolo
* Pat Coulter - background vocals
* Gwen Edwards - background vocals
* Brenda Gordon - background vocals
* Tish Smith - background vocals
* Brooks Hunnicutt - background vocals
Credits
* Producer - Steve Cropper
* Engineers - Robert Appere, Ron Capone
* Recorded at Trans- Maximus Sound Studios, Memphis; Clover Recorders, L.A
* Album Photography - Herb Greene
Info @ Wiki
Get it here @320
http://rapidshare.com/files/39656524/Cold_Blood-Lydia.rar
Labels: C, Lost-In-Tyme Links to this post
Saturday, July 14, 2007
Fontella Bass - 1972 - Free (The Paula Recordings)
Fontella Bass will always be remembered for her hit Rescue Me. That didn’t mean she didn’t record anything else of quality afterwards, just that it didn’t make the charts. Free is a perfect example of her post Rescue Me work. Most of the tracks are mellow Soul with a Southern feel to them. The best of those is the powerful delivery and message of Talking About Freedom. In between are some more upbeat and really catchy cuts like "Hold On This Time" and "I Need To Be Loved". Oliver Sain, who Bass use to sing with, produced the album.Tracks
1 To Be Free (3:59)
2 Hold on This Time (2:28)
3 I Want Everyone to Know (3:05)
4 I Need to Be Loved (2:31)
5 Talking About Freedom (3:23)
6 I Need Love (2:33)
7 Wiping Tears (2:24)
8 Now That I've Found a Good Thing (2:46)
9 Who You Gonna Blame (2:46)
10 It Sure Is Good (2:49)
11 I'm Leaving the Choice to You (3:06)
12 Home Wrecker (3:32)
13 It's Hard to Get Back In (2:54)
14 My God, My Freedom, My Home (3:43)
2 Hold on This Time (2:28)
3 I Want Everyone to Know (3:05)
4 I Need to Be Loved (2:31)
5 Talking About Freedom (3:23)
6 I Need Love (2:33)
7 Wiping Tears (2:24)
8 Now That I've Found a Good Thing (2:46)
9 Who You Gonna Blame (2:46)
10 It Sure Is Good (2:49)
11 I'm Leaving the Choice to You (3:06)
12 Home Wrecker (3:32)
13 It's Hard to Get Back In (2:54)
14 My God, My Freedom, My Home (3:43)
15.Rescue Me [New Version] (2.46)
Original Free album orange tracks.
Black tracks are bonus.
The Reviews1
Very righteous work from Fontella Bass -- an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago -- in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s -- but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s too. Fontella's vocals are incredible -- with a range that should have made her one of the leading ladies of soul in the 70s.
2
If Fontella Bass' "Rescue Me" is the best soul single that Aretha Franklin never made, then Free is the lost classic that deserves space in any record collection housing worn-out copies of the Queen of Soul's I Never Loved a Man the Way I Love You and Spirit in the Dark. Reuniting Bass with producer Oliver Sain, who helmed her classic mid-'60s sides for Chess, Free draws on the singer's gospel roots to forge a deeply spiritual and moving examination of post-civil rights America. Cuts like "To Be Free," "Talking About Freedom," and "My God, My Freedom, My Home" showcase the remarkable power and poignancy of Bass' vocals, couched beautifully by Sain's nuanced, blues-inspired arrangements. This excellent, well-annotated reissue includes the original 1972 Free LP in its entirety along with four bonus tracks -- excellent stuff from a singer unjustly dismissed as a one-hit won.
Get that Great Voice Here @256
Labels: B, F, nikos1109 Links to this post
Thursday, July 12, 2007
Faze O - 1977 - Riding High
A spacey soul classic with a sound that never gets old!
Faze-O will be forever remembered for their massive cut "Riding High" a stretched out slow funk jam that has amazing keyboards, floating guitars, and a super-dope groove that's stayed fresh from the moment it was first set to wax back in 1977! This album's the group's first, and best -- and it's a really wonderful record that blends together funky fusion and heavy soul filled with killer cuts arranged by the Ohio Players, and with lots of great keyboards by the group! Includes, of course, the hit "Riding High" -- plus "Toe Jam" and "Funky Reputation.
LP She Records SH-740 1977
Arranged By - Ohio Players
Tracks
A1 Riding High (5:21)
A2 Funky Reputation (5:10)
A3 You And I (Belong Together) (5:20)
B1 Toe Jam (4:59)
B2 True Love (3:19)
B3 Get Some Booty (2:49)
B4 Test - This Is Faze-O (4:44)
Arranged By - Ohio Players
Tracks
A1 Riding High (5:21)
A2 Funky Reputation (5:10)
A3 You And I (Belong Together) (5:20)
B1 Toe Jam (4:59)
B2 True Love (3:19)
B3 Get Some Booty (2:49)
B4 Test - This Is Faze-O (4:44)
This group was produced by the Ohio Players and this album by these midwest funkers have all the earmarks of an Ohio Players production: deep and heavy drums and fills, funky ass bass, familiar horn lines, burbling keyboards, clavinets, and synths, and funky vocals. The track that gets the most attention from this album is "riding high", an all time funk bomb! There wasn't a time back in the late 70's that you did not hear this cut on the radio or at one of your relatives or friends houses, especially at a late night party. This is a real mid-tempo smooth ride all the way until the end of the song. 2 songs on the album deserve special attention: the throbbing bass/synth funk of "funky reputation", a blazing funk jam that you just have to blast out of your speakers on a hot saturday afternoon, and also "get some booty"(!) (yes, that is the title of this short,3 minute track! don't worry, nothin' nasty, just a fast paced funk frenzy with much emphasis on getting the boo-tay on the dance floor!). Other songs follow in the Ohio Player(s) style, but these 5 guys make a good funky sound all on their own.
This nugget is not in print on cd, so if you can find an out of print copy on vinyl, get it quick and take a high funk ride with faze-o!
Take the high Funky Ride here 320@
Labels: F, nikos1109 Links to this post
Tuesday, July 10, 2007
Freda Payne - 1970 - Band Of Gold
This is an excellent album from a underappreciated soul vocalist. Published in the Invictus label, founded by Holland, Dozier and Holland after leaving Motown, it contains not a bad song and is one of the best soul albums of the 70's.
1970 LP Invictus ST-7301
Tracks
A1 Band of Gold
A2 I Left Some Dreams Back There
A3 Deeper and Deeper
A4 Rock Me in the Cradle
A5 Unhooked Generation
A6 Love on Borrowed Time
B1 Through the Memory of My Mind
B2 This Girl Is a Woman Now
B3 The World Don't Owe You a Thing
B4 Now Is the Time to Say Goodbye
B5 Happy Heart
B6 The Easiest Way to Fall
A1 Band of Gold
A2 I Left Some Dreams Back There
A3 Deeper and Deeper
A4 Rock Me in the Cradle
A5 Unhooked Generation
A6 Love on Borrowed Time
B1 Through the Memory of My Mind
B2 This Girl Is a Woman Now
B3 The World Don't Owe You a Thing
B4 Now Is the Time to Say Goodbye
B5 Happy Heart
B6 The Easiest Way to Fall
Review
Although much of soul vocalist Freda Payne's early '70s association with the mighty Invictus label would be fraught with stress, her 1970 debut album, Band of Gold, was nevertheless a masterpiece of epic proportions. Touted on the sleeve as "people music, for people who like pop, rhythm and blues, ballad, hymns — just about anything," Payne's set certainly reflects that wide range and, while the overall sonic tone of Band of Gold reflects her producers' Motown history, especially across songs like "Unhooked Generation" and the Holland-Dozier penned "The World Don't Owe You a Thing," there are other more spontaneous moments here as well. With a majority of the songs co-written by Ron Dunbar, who would go on to become part of the P-Funk empire, "Payne" wowed her audience first with the top hit "Band of Gold" before diving into "Deeper and Deeper." Both are downtempo love ballads, delivered with a maturity and richness that belies much of the balladeering of the era. Other standouts include the young love remembrances of "Through the Memory of My Mind," which allows Payne's vocals to stay fully in front and even includes a subtle Shangri-Las-y spoken work bridge and the smoky intro'd "This Girl Is a Woman Now." It must be said, however, that the title song — truly one of the greatest soul ballads of all time — so dominates proceedings that it is very easy to overlook these other gems, one reason why Band of Gold rarely attracts much attention today.
Bio
Freda began her career with the Pearl Bailey Revue, performing regularly with Duke Ellington. Her first major break came when Quincy Jones invited her to perform as a soloist with his orchestra one night at the Apollo in Harlem, New York.
In 1965 she signed with ABC Records and sang strictly jazz until 1969 when she was signed by the Invictus label, formed by the Holland/Dozier/Holland production team, after their departure from Motown Records. In fact, Freda Payne was the first singer that Motown president Berry Gordy Jr. wanted to sign to his label. Gordy had his eyes set on making Freda his big female star in the early part of Motown before Diana Ross, Martha Reeves and Mary Wells. However, Freda was never signed by Gordy.
At Invictus Freda Payne made an immediate impact on the American R&B scene with "Unhooked Generation," followed by her biggest hit "Band of Gold" (UK No.1, Sept 1970). In the UK this success was followed by a couple of minor hit singles, "Deeper and Deeper" (No. 33, Nov 1970) and "Cherish What Is Dear To You" (No. 46, Mar 1971). However, her U.S. million-seller anti-Vietnam song "Bring the Boys Home" failed to chart in the UK. Because of a royalty dispute with Invictus, "I haven't been paid a cent in 25 years," said Freda in a recent U.S. interview, she returned to the ABC label.
Her album releases for ABC included "Payne & Pleasure" (1975) and "Out Of Payne Comes Love" (1975). In 1976 Freda made a switch to Capitol for "Supernatural High" and in 1982 Freda Payne recorded the single "In Motion" for the New York Sutra label.
Payne is equally at home performing with a symphony or an intimate jazz trio. Her remarkable multi-faceted career spans more than four decades and includes theater, Broadway, concert stage and film.
Whether singing pop, jazz, or R&B, there are few vocalists finer than Freda Payne.
In 1965 she signed with ABC Records and sang strictly jazz until 1969 when she was signed by the Invictus label, formed by the Holland/Dozier/Holland production team, after their departure from Motown Records. In fact, Freda Payne was the first singer that Motown president Berry Gordy Jr. wanted to sign to his label. Gordy had his eyes set on making Freda his big female star in the early part of Motown before Diana Ross, Martha Reeves and Mary Wells. However, Freda was never signed by Gordy.
At Invictus Freda Payne made an immediate impact on the American R&B scene with "Unhooked Generation," followed by her biggest hit "Band of Gold" (UK No.1, Sept 1970). In the UK this success was followed by a couple of minor hit singles, "Deeper and Deeper" (No. 33, Nov 1970) and "Cherish What Is Dear To You" (No. 46, Mar 1971). However, her U.S. million-seller anti-Vietnam song "Bring the Boys Home" failed to chart in the UK. Because of a royalty dispute with Invictus, "I haven't been paid a cent in 25 years," said Freda in a recent U.S. interview, she returned to the ABC label.
Her album releases for ABC included "Payne & Pleasure" (1975) and "Out Of Payne Comes Love" (1975). In 1976 Freda made a switch to Capitol for "Supernatural High" and in 1982 Freda Payne recorded the single "In Motion" for the New York Sutra label.
Payne is equally at home performing with a symphony or an intimate jazz trio. Her remarkable multi-faceted career spans more than four decades and includes theater, Broadway, concert stage and film.
Whether singing pop, jazz, or R&B, there are few vocalists finer than Freda Payne.
Get this here brothers
Labels: F, nikos1109, P Links to this post
Saturday, July 7, 2007
Soul Survivors - 1967 - When The Whistle Blows Anything Goes
The first and possibly best album of one of the most powerful 'blue eyed soul' bands ever. Rocketed to stardom by their fantastic hit 'EXPRESSWAY TO YOUR HEART', the song became producers' KENNY GAMBLE and LEON HUFF first 'crossover' hit when it began to be played on both white and black stations.Its success enabled Gamble and Huff to reach the large audiences they sought in order to bring their trademark 'PHILADELPHIA SOUND' to the mass market. The SOUL SURVIVORS were more than one hit wonders though, as all the songs on their great album from 1967 demonstrated.
Tracks
1. Do You Feel It (3:44)
2. Please, Please, Please (3:27)
3. Too Many Fish In The Sea / Shake (5:50)
4. Dathon’s Theme (2:44)
5. Taboo - India (3:41)
6. Expressway (To Your Heart) (2:19)
7. Respect (2:40)
8. A Change Is Gonna Come (3:46)
9. Hey Gyp (4:52)
10 The Rydle (2:59)
Some of the best blue-eyed soul to come out of America during the late 60s -- a soaring batch of tunes from a combo that broke down borders wherever they went! The album's the first by the group -- and easily their best -- based around their biggest hit ever, "Expressway (To Your Heart)", one of those songs you've heard a million times, but which always grabs you when it hits the break in the chorus! There's none of the "fake soul" style vocals that rock acts in later years would try to pick up, and these guys instead play like they're just a Philly group, ready to mash it up at some tasty club gigs. The whole thing's great, and titles include "Do You Feel It", "Respect", "Hey Gyp", "The Rydle", and "Taboo-India.
The Soul Survivors only giant hit, "Expressway to Your Heart," was one of the first notable productions by Philadelphia wizards Kenny Gamble and Leon Huff in 1967. Although they were white, the Soul Survivors adopted a convincing R&B sound for their early singles on Crimson. Gamble and Huff loaded "Expressway to Your Heart" with honking horns and other automotive sound effects, but the record's principal strength lay in its soulful vocals and pounding beat. After a less successful follow-up, "Explosion in Your Soul," the band faded but returned for one more hit in 1974.
Get this Blue Eyed Soul Gem Here
Soul_Survivors_-_1967_-_When_The_Whistle_Blows_Anything_Goes.rar
The Soul Survivors only giant hit, "Expressway to Your Heart," was one of the first notable productions by Philadelphia wizards Kenny Gamble and Leon Huff in 1967. Although they were white, the Soul Survivors adopted a convincing R&B sound for their early singles on Crimson. Gamble and Huff loaded "Expressway to Your Heart" with honking horns and other automotive sound effects, but the record's principal strength lay in its soulful vocals and pounding beat. After a less successful follow-up, "Explosion in Your Soul," the band faded but returned for one more hit in 1974.
Get this Blue Eyed Soul Gem Here
Soul_Survivors_-_1967_-_When_The_Whistle_Blows_Anything_Goes.rar
Labels: nikos1109, S Links to this post
Thursday, July 5, 2007
Doris Duke - 1969 - I'm a Loser (plus 2nd album & bonus)
This ablum is considered by many - including the soul expert Dave Godin - to be the greatest deep soul album of all time. A masterpiece of soul singing, song writing and production. Jerry Williams Jr wrote ten of the 12 songs (with either Gary Bonds or George Jackson) he produced with such artistry.
The lyrics are hardly pleasurably amusing -- if anything, they're a dark vision into an equally-disturbed mind. However, this is southern soul music done the correct way, and the result is amazing.
The second album is a bonus along with the tracks she made in the sixties as Doris Willingham. When the album was first release in 1970 on Canyon records US it was only available as an import in the UK.
it must be part of EVERY soul collection.
Tracks
1. He's Gone (4:36)
2. I Can't Do Without You (2:10)
3. Feet Start Walking (2:29)
4. Ghost of Myself (3:08)
5. Your Best Friend (2:49)
6. The Feeling Is Right (2:47)
7. I Don't Care Anymore (3:10)
8. Congratulations Baby (2:06)
9. We're More Than Strangers (3:32)
10. Divorce Decree (2:31)
11. How Was I to Know You Cared (2:39)
12. To the Other Woman (I'm the Other Woman) (2:58)
The Reviews
1
In a lot of ways, I'm a Loser feels like the hidden blueprint for all the deep soul that followed. The vocals are cut free of the '60s pop aspirations of Motown and even their rougher Southern counterpart, Stax. They're earthy, gritty, and soulful and as close to the church as you can get without getting up Sunday morning. The music is simple, polished, and reserved, jumping into the spotlight only when necessary. Listen to the understated guitar solo on "Ghost of Myself" for proof. By 1969 standards, the lyrics are sobering in their candor and, considering that this is loosely a concept album about the darkest facets of love and secret relationships, quite relentless, too. Credit is due to legendary soul eccentric Swamp Dogg, who produced and wrote most of I'm a Loser and a good deal of the follow-up, A Legend in Her Own Time. Legend isn't as intense as its predecessor and really, how could it be? It's an excellent companion, though, and its lighter tone and punchy horn arrangements are a welcome reprieve from the weight of I'm a Loser.
2
This is true Southern Soul music. Doris doesn't impress you so much with the range of her voice, just her conviction. You feel every word she sings, and this to me makes for the best vocals. Want to also praise the Swamp Dogg production. Lots of nice touches and embellishments that makes this not only a great soul album, but a pop gem as well.
If you love classic Memphis soul of the 60s-70s (Bettye Swann, Candi Staton, Ann Peeples, Syl Johnson, Al Green), you'll love this disc.
3
I have waited for this album for many years. I used to sell records in the early 1970's and the shop where I worked specialized in soul music. The 45 "To The Other Woman" was the epitome of the soul ballad in my opinion and I played it frequently in the store. Men liked it and women LOVED it. We were able to get a few copies of the LP when it was released and luckily I saved one for myself because it went unavailable for the next 30 years. Her singing is so plaintive you must tear up if you have a heart. I can't believe she never got famous. If you enjoy artists like Ann Peebles, give this one a listen.
Get this Essential album here
doris_duke_-_1969_-_i_m_a_loser.rar
doris_duke_-_1969_-_i_m_a_loser.rar
I'M A LOSER: THE COMPLETE SWAMP DOGG SESSIONS... AND MORE consists of 26 songs, comprised of the 1969 Canyon LP "I'm a Loser" (tracks 1-12), the 1971 Mankind LP "A Legend in Her Own Time" (tracks 13-23), and three Jay Boy recordings from 1967 (tracks 24-26).Some of the greatest female soul from the southern scene at the start of the 70s -- two monumental albums from singer Doris Duke, both produced by Swamp Dogg and packaged here with some rare bonus cuts too! Doris' work has always been some of our favorite from the deep soul scene -- honest, personal, and earthy -- with a quality that goes way beyond the cliches of other female soul singers from the south -- an aspect that's even more surprising, given that Swamp Dogg was in on the mix! Doris has a way of putting over a tune that's really incredible -- that kind of intimate, one-on-one mode that brings to mind the kind of chills we first felt when hearing Otis Redding on Stax -- and which somehow manages to hold on strong over all the tracks on the set. At 26 numbers in all, the package is a tremendous rare soul treasure -- and features the full tracks from the album I'm A Loser and A Legend In Her Own Time -- plus some rare singles cut by Doris under the name Doris Willingham.
Tracks
13. I Wish I Could Sleep (3:42)
14. It Sure Was Fun (2:40)
15. I Don't Know How (To Fall Out of Love With You) (2:58)
16. He's Everything I Need (3:25)
17. I'd Do It All Over You (2:22)
18. If She's Your Wife (Who Am I) (3:58)
19. Since I Fell for You (2:52)
20. Don't Let the Green Grass Fool You (2:21)
21. Let Love Touch Us Now (2:31)
22. Bad Water (3:22)
23. By the Time I Get to Phoenix (4:01)
Bonus as Doris Willingham
24. Too Much to Bear (3:25)
25. You Can't Do That (2:54)
26. Lost Again (3:32)
Original LP front cover
Get 2nd album (13 - 23)with bonus tracks (23-26) here
doris_duke_-_1971_-__a_legend_in_her_own_time.rar
Labels: D, nikos1109 Links to this post
Tuesday, July 3, 2007
Peter Brown - 1977 - A Fantasy Love Affair (Drive 104) T.K.
Finally a Disco – Dance Classic
Get down with the sound of Peter Brown -- one of the funkiest white cats on the Miami soul scene of the 70s! Peter originally hailed from the Chicago area, but he got the call down to Miami with his classic club groover "Do You Wanna Get Funky With Me?" -- a compelling blend of snappy rhythms, soulful horns, weird keyboard bits, and sweet female vocals. That track instantly set Peter up large -- reputedly the first 12" single to sell a million copies -- and Brown followed the groove with a whole host of other clubby classics cooked up in the Miami TK studios!
A super-huge moment for Miami funk guru Peter Brown -- a record instantly recognized by the silhouetted cover image of a nipply nude in a window on the front, and for the very famous title hit, "Do You Wanna Get Funky With Me?" Despite its hit status, the record's actually a pretty nice example of Brown's talents -- with plenty of spare cuts that feature keyboards, percussion, and synth -- plus some occasional vocals by Betty Wright, Pat Hurley, or the vocal group Wildflower.
Tracks
1. A Fantasy Love Affair (3:55)
2. Do You Wanna Get Funky With Me (9:06)
3. You Should Do It (3:49)
4. The Singer's Become a Dancer (3:55)
5. For Your Love (4:18)
6. Dance With Me (5:19)
7. It's True What They Say About Love (3:41)
8. Without Love (3:14)
The Reviews
1
1. A Fantasy Love Affair (3:55)
2. Do You Wanna Get Funky With Me (9:06)
3. You Should Do It (3:49)
4. The Singer's Become a Dancer (3:55)
5. For Your Love (4:18)
6. Dance With Me (5:19)
7. It's True What They Say About Love (3:41)
8. Without Love (3:14)
1
There are no words to describe the sheer pleasure this CD brings! The music here captures the essence of the disco era.
"Do You Wanna' Get Funky With Me" is the all-time disco anthem (intoxicating) and his duo with Betty Wright on "Dance With Me" is my personal all-time Peter Brown favorite. The title track is a bouncy song that also takes me back. I had forgotten all about "You Should Do It" and didn't know that it was a Peter Brown tune. This was another song that I particularly loved.
Now that I own the CD, "For Your Love" is a stand out with its simple melody. "The Singer's Become A Dancer" is a steady tune with good keyboard/synthesizer work and a tight harmony.
"Without Love" is a stark, pensive tune with great orchestration. Its simplicity is its elegance.
If you are a disco lover and don't have this in your collection, you're truly missing out.
"Do You Wanna' Get Funky With Me" is the all-time disco anthem (intoxicating) and his duo with Betty Wright on "Dance With Me" is my personal all-time Peter Brown favorite. The title track is a bouncy song that also takes me back. I had forgotten all about "You Should Do It" and didn't know that it was a Peter Brown tune. This was another song that I particularly loved.
Now that I own the CD, "For Your Love" is a stand out with its simple melody. "The Singer's Become A Dancer" is a steady tune with good keyboard/synthesizer work and a tight harmony.
"Without Love" is a stark, pensive tune with great orchestration. Its simplicity is its elegance.
If you are a disco lover and don't have this in your collection, you're truly missing out.
2
Not one of my longer reviews-this is what disco was, along with Salsoul, West End and Prelude. 20 odd years later and I still can't get over the sheer joy of "You Should Do It" - this is before I get started on " Do You Wanna Get Funky.." and "Fantasy Love Affair". And "Dance With Me" is just beyond with Betty Wright giving it hell. Buy it and go to hell on a handcart!!!
3
A superb disco-era album that stayed faithful to the way I remembered it - and loved it. It was "Do You Wannna Get Funky..." that drew me in originally, of course; but interestingly, it was the tracks "For Your Love" and "Without Love", which never seem to have hit the singles chart, that kept me. And the sheer poetry in the words show the versatility of Peter Brown in being able to make your feet and your emotions dance.
The covers are from my original LP with the striking, nearly naked young woman in silhouette ( I admit I bought it because of the cover).
The “Fantasy love Affair CD release, has the artwork of his “Stagazer “ album with Peter Brown himself.
The “Fantasy love Affair CD release, has the artwork of his “Stagazer “ album with Peter Brown himself.
Play it loud and dance with it here
Labels: B, nikos1109 Links to this post
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