October 2007

Tuesday, October 30, 2007

Gordon 'N' Rogers The Inter-Urban Electric A & E Pit Crew And Rhythm Band - 1969 - Bug In! OST

Label: Capitol Records STAO-276

Here goes some really dope obscurity, especially for our strong funky community)). I'm sure you never heard of this one before). So have a chance to please you ears!

Jack Diamond Music:
I really don't know WHAT this is, like it's not listed in ANY soundtrack guide, but appears to be some sort of show or series or special on dune buggies and MUST BE from the 1970's. Chicks in bikini's in a dune buggy front bottom left. 1 thing I do know for sure and that is this is 1 FUNKY MOTHUHF*****R and IS GONNA ROCK YOUR WORLD!!! Perfect rhythmic horn sections with a groove this is impossible to stop, add fluid scorching solo horns against firecracker chunk-a-funk Electric Guitar, Fender Bass, Electric Piano, Drums, funky reverberated Flutes and I think even some Conga Drum. Many of the solo saxophone and flute sounds, sound like there is some sort of "veritone attachment" on them, like on Tom Scott's "Honeysuckle Breeze" LP on Impulse or Pete Christlieb's sound on Louis Bellson's "Breakthrough" LP on Project 3, if you are familiar with those. What it does equal is funk It is exactly like that. Super Now Go Go Sounds that will pack the dancfloor guaranteed, tune for tune. This ain't no "2 tunes" killer release. Dune Buggy sounds permeate the beginnings, the ends and sometimes in between each tune there are serious revving sounds. Keep on truckin' is what I say. Just about 40 Minutes in length It's all instrumental, rev it up, man and let's get outta here!!!
[Review taken from Disquarium eXotica Releases website]

Tracklisting:
01. Louisiana Tow'd
02. Glitterbag
03. Spyder Bug
04. The Manx Meets the Bronco
05. Baja Boot
06. The Classic 2,000
07. Boss Bug
08. Baja Bean
09. Wampuskitty
10. Mini T

Скачать / Download [rapidshare links]:
Gordon 'N' Rogers The Inter-Urban Electric A & E Pit Crew And Rhythm Band - Bug-In! '1969 @ 320 kbps A
Gordon 'N' Rogers The Inter-Urban Electric A & E Pit Crew And Rhythm Band - Bug-In! '1969 @ 320 kbps B

I hope you'll enjoy it! Waiting your comments;)

Monday, October 29, 2007

The Friends Of Distinction - 1969 - Grazin'

Grazin is a beautiful album of pop soul tracks, recorded by a group that was once (along with the 5th Dimension) part of the legendary Rex Middleton's Hi-Fi's from LA. The record sports their hit vocal version of Hugh Masekela's "Grazing In The Grass", with the great "I can dig it" line, plus an excellent reading of a lost cut by funky drummer Roy Porter, entitled "Lonesome Mood".

In January 1970 the group was chosen as the Best New R&B Group of 1969 by Record World magazine.
This a 320@ rip of my original RCA vinyl.
Those who like 5th Dimension will adore them.

Two killer soul tracks “ Grazing in The Grass” and “Going In Circles”.

Discover this amazing group and record

Tracks

A1. Grazing In The Grass 2.58
A2. I've Never Found A Girl (To Love Me Like You Do) 3.34
A3. I Really Hope You Do 4.00
A4. (A) Sweet Young Thing Like You 3.08
A5. Going in Circles 4.28

B1. Eli's Comin 4.19
B2. Help Yourself (To All Of My Lovin') 2.07
B3. Baby I Could Be So Good At Loving You 3.09
B4. And I Love Him 4.17
B5. Peaceful 3.32
B6. Lonesome Mood 4.48

Jessica Cleaves, Barbara Love, Harry Elston, and Floyd Butler were the Friends of Distinction, Southern California natives who sought to imitate the Fifth Dimension's success. They shared similar lineups -- two women, two guys, each dressed differently with no overt attempts to coordinate. "Grazing in the Grass" made them known across America; lyrics were added to Hugh Masekela's clanging, cowbell-driven, African tune, and it sold in droves, as radio stations played it, people liked it, and even jazz aficionados dug it. "Going In Circles" duplicated "Grazing"'s success and has been redone by R&B greats; the falsetto lead on the fade should be time capsuled. I forgot which female leads "I Really Hope You Do," but the sweet, husky soprano never fails to jumpstart my heart; RCA mistakenly tacked it on the B-side of something. They take Eddie Floyd's "I Ain't Never Found a Girl" out the country and into the city. Lennon & McCartney's "And I Love Him" is given a soulful, erotic reading by one of the Friends of Distinction women. Cole Porter's somber "Lonesome Road" shows a desire to do jazzier selections.

Bio

http://www.soultracks.com/friends_of_distinction.htm

Listen to the group

http://www.youtube.com/watch?v=I5zRr8RNfUc

and

Get the album here

The_Friends_Of_Distinction_-_1969_-_Grazin_.rar

Sunday, October 28, 2007

Misty In Roots

Misty in Roots began life as a Southall based British roots reggae band in the early 1970s. Their first album was 1979's Live at the Counter Eurovision, a record full of Biblical Rastafarian songs. This powerful, atmospheric live album is a minor classic and was championed by radio DJ John Peel, helping to bring roots reggae to a white audience. At this early stage the band was a collective with five lead singers and various musicians, though by the time of the second album the band, which continues today, had slimmed down to just three members. Along with Steel Pulse and Aswad, Misty in Roots were one of the very favourite English reggae bands in the late seventies.

In 1979 Clarence Baker, a member of the collective, was severely beaten and injured by the SPG during the protest in Southall against the National Front provocation. The Punk band The Ruts who were partners of the People Unite cooperative honoured him in their song "Jah Wars" which appeared on their album The Crack.

Discography
Live at the Counter Eurovision (1979)
Misty Over Sweden (1979)
Wise and Foolish (1982)
Earth (1983)
Musi-O-Tunya (1985)
Forward (1989)
The John Peel Sessions (1995)
Roots Controller (2002)

FROM WIKI

Wise and Foolish (1982)

Personel
D. McKay Ngoni (Vocal)
D. Tyson Tafadzwa (Vocal)
W. Tyson Poko (Vocal)
J. Brown Munya (Keyboard)
D. Augustin Chop Chop (Rhythm Guitar)
J. Peters Bampy (Drums)
A. Henry Tsungi: (Bass)
C. Sampson (Lead Guitar)
D. Benjamin (Lead Guitar)
G. Bedau (Saxaphone)

Track List
Bail Out (D Mckay/Misty in Roots)
City Blues (W Tyson/Misty in Roots)
Wise and Foolish (W Tyson/Misty in Roots)
Live Up (D Mckay/Misty in Roots)
Life Boat (W Tyson/Misty in Roots)
Slavery Days (D Tyson/Misty in Roots)
Jah Bless Africa (Misty in Roots)
Peace and Love (D Mckay/Misty in Roots)

Earth (1983)

Personel
D. Tyson Duxie (Vocal)
W. Tyson Poko (Vocal, trumpet)
D. McKay Ngoni (Vocal)
D. Briscoe Tawanda (Keys)
D. Augustin Chop Chop (Rhythm)
L. Crossfield Kaziwayi (Lead)
A. Henry Tsungirai (Bass)
J. Brown Munya (Drums)
N. Nortey (Saxaphone)

Track List :
Follow Fashion (W Tyson/Misty in Roots)
Own Them Control Them (D Mckay/Misty in Roots)
Earth (W Tyson/Misty in Roots)
New Day (D Tyson, D Augustin/Misty in Roots)
Poor and Needy (Misty in Roots)
Servant To Jah (D Tyson/Misty in Roots)
Persecution (D Mckay/Misty in Roots)
Dreadful Dread (D Tyson/Misty in Roots)

Their site :

http://www.mistyinroots.ws/home.html

Info for their gigs in Greece 8/11 and 9/11

http://www.reggae.gr/l/content/view/70/38/

http://www.myspace.com/iliosporoi

and links

Wise and Foolish (1982) @128

RapidShare Link
SendSpace Link

Earth (1983) @192

RapidShare Link
SendSpace Link

Enjoy

Friday, October 26, 2007

Eddie Hazel - 1977 - Game, Dames And Guitar Thangs

Somewhat of a mythical figure, original Funkadelic guitarist Eddie Hazel pioneered an innovative funk-metal sound in the early '70s, best exemplified on his mammoth classic instrumental jam "Maggot Brain."

Named one of the 100 greatest guitarists of all time by both Rolling Stone and Mojo, Brooklyn native Eddie Hazel was the original lead guitarist for George Clinton's wildly influential funk-rock ensemble Funkadelic. After shredding on acid-soaked classics like "Maggot Brain" "I Wanna Know If It's Good To You," and "Standing On The Verge Of Getting It On," Hazel left the band in 1974 amid a flurry of drug use and financial disputes.

Released in 1977, Game, Dames And Guitar Thangs is a full-tilt, jam-filled showcase for Hazel's far-out virtuosity. He cuts loose on fiery extended versions of The Mamas And The Papas' "California Dreamin'" and The Beatles' "I Want You (She's So Heavy)." Elsewhere he taps the Parliament/Funkadelic tradition with "Frantic Moment," "So Goes The Story," and "Physical Love" -- all co-written by Clinton and Bootsy Collins. Female PFunk backers the Brides Of Funkenstein handle the majority of vocal duties

Tracks
1 California Dreamin'
2 Frantic Moment
3 So Goes the Story
4 I Want You (She's So Heavy)
5 Physical Love
6 What About It?
7 California Dreamin' (Reprise)

A hidden gem among the many Parliament/Funkadelic-affiliated albums released during the mid- to late '70s, Eddie Hazel's only official solo album may not sport any perennial classics and may be a bit short on content, yet it became incredibly revered in subsequent years following its quiet release. Part of this album's magnetic allure to P-Funk fans no doubt arises from its rare status as a considerable collector's item capable of fetching substantial prices. There's more to the album than rarity, though. Hazel never really garnered the acclaim he deserved as a pioneering funk-metal guitarist during his time, and this album showcases just how stunning his guitar abilities really were. Each of the six full-length songs on the brief album feature Hazel laying down fiery guitar solos over loose song structures while the rest of his bandmates hold the song together and the Brides of Funkenstein handle a majority of the vocals. The two epic covers of "California Dreamin'" and "I Want You (She's So Heavy)" — clocking in at six-and-a-half and nine-and-a-half minutes, respectively — demonstrate this perhaps better than anything else on the album, as the band spends more time jamming than concerning itself with staying true to the originals. The other songs here are rather traditional late-'70s Parliament/Funkadelic songs written by George Clinton and Bootsy Collins that emphasize yet more of Hazel's manic lead guitar. Though this album doesn't exactly boast great songwriting or stand as a landmark album in the sense of Mothership Connection, it does feature some amazing guitar work on Hazel's part, clearly a vehicle for his soloing. And that in itself makes it great and worth hearing, particularly since the pioneering guitarist seemed to disappear into near oblivion after the Maggot Brain album, leaving fans with little recorded output to appreciate after his untimely demise.

Thanks Kundalini for this one !!!

Get it here :
http://rapidshare.com/files/59029308/Eddie_Hazel_-_Dames_Games.rar

Wednesday, October 24, 2007

Lorraine Ellison - 1966 - Heart & Soul

I promised that and here it is.

I consider myself so lucky and blessed that I own a near mind copy of this incredible record which I like to share it with you.
I have already introduced you Lorraine sometime ago with the second of her three Warner bros records 1969’s “Stay with me”.

Here is the classic first album “Heart& Soul” ripped on 320@ including original covers.

Believe me you won’t find it anywhere. Never released on cd.

The title says everything! It is all about Heart and Soul.

“Stay with me” easily one of the greatest soul singles ever, is including here.

A number 11 R & B, number 64 pop in 1966 was the song that really took her to another level.
There’s also killer performances on classic songs like “ A change is gonna come” and “Cry me a River”.

Ellison's vocals are hard to fault anywhere.
This voice is so gorgeous.

Deeply steeped in gospel, Lorraine Ellison possessed a vocal range, power and intensity that was maybe TOO intense for the mainstream, and thus only scored three chart hits during her career.

Tracks

A1. Heart & Soul 3.02

A2. Games That Lovers Play 2.30

A3. He's My Guy 2.44

A4. What a Difference A Day Makes 3.00

A5. A Change is Gonna Come 3.30

A6. If I Had A Hammer 2.15

B1. When Love Flies Away 3.09

B2. Cry Me A River 3.04

B3. Stay With Me 3.29

B4. What Is A Woman 3.00

B5. That's For Me 2.36

B6. My Man's Gone Now 3.20

.....I investigated her due to a Maurice Gibb interview where Maurice seemed to be obessively enamoured with the Stay With Me single. I must say she leaves the Bee Gees on planet Earth here and must know the moon as her backyard. Many soul singers leave me with the feeling that I get watching a particular Wednesday afternoon soap opera. The sound of Lorraine Ellison's voice leaves me catatonic and feeling like I have no right to say I have the blues. She grips you firmly by the back of the neck with her overwhelming display of raw human emotion...

....Warner's Jerry Ragovoy-who'd penned the Rolling Stones hit “Time Is On My Side” under the pseudonym Norman Meade-brought Ellison to the label and began writing and producing for her. Their first session produced the immortal #11 hit “Stay With Me,” which has since been covered by everyone from Bette Midler to Jimmy Witherspoon to Natalie Cole. The resulting album, 1966's Heart And Soul, was tailored to a jazz and pop crossover audience but never caught fire......

This is a gem everyone should own

Get it here

Lorraine_Ellison_-1966_-_Heart___Soul.rar

Sunday, October 21, 2007

Denise Lasalle - 1972 - Trapped By A Thing Called Love

Trapped By A Thing Called Love is the Westbound debut of LaSalle -- and a killer bit of southern soul recorded down in Memphis with Willie Mitchell, despite the Detroit address of the label!

The set is a real burner through out - one that features mostly original material by Denise, recorded with a spare and compressed southern soul groove that's a lot more Stax Records than anything going down on Westbound at the time. Denise is in perfect form vocally, too - never overdoing things, and really presenting her lyrics with a great sense of confidence - one that matches the best power of Ann Peebles, Carla Thomas, or any other contemporaries on the Memphis scene.

Tracks

1. Trapped by a Thing Called Love 2:40
2. Now Run and Tell That 3:20
3. Heartbreaker of the Year 2:50
4. Goody Goody Getter 2:22
5. Catch Me If You Can 3:06
6. Hung Up Strung Out 2:40
7. Do Me Right 2:57
8. The Deeper I Go 2:27
9. You'll Lose a Good Thing 2:39
10. Keep It Coming 2.35

Kicking off her Westbound stay with a gem, Denise LaSalle gave the world a new take on Southern soul with this late-nite entrée of Stax-y grooves and tales of love on the rocks. Trapped By a Thing Called Love and her two other Westbound LPs (On the Loose and Here I Am Again) set the pace for other Dixie divas like Millie Jackson and Betty Wright, thanks to the finely gauged originals and heavy dose of swagger they contained. The symphonic soul charts of both Gene "Bowlegs" Miller and Hi Records arranger Willie Mitchell (Al Green, O.V. Wright) are on display, too, and the fare ranges from a few choice covers (Barbara Lynn's "You'll Miss a Good Thing") to now-canonized R&B sides like the LaSalle-penned title track. Once available on vinyl and as a two-fer disc that also included On the Loose, Trapped By a Thing Called Love is lost in the vaults once again and awaiting a re-release makeover befitting its classic status.

LaSalle, the Diva, wrote 7 of the 11 tracks including the #1 R & B smash "Trapped By A Thing Called Love" (also reached #13 Pop). The album reached #38 R & B and #120 Pop in Billboard.

Bio & Discography

http://bluescritic.com/DeniseLaSalle.html

Get the lady here

Denise_Lasalle_-_1972_-_Trapped_by_a_thing_called_love.rar

Wednesday, October 17, 2007

Greg Perry - 1975 - One for The Road

This is a real find!

I am sure you'll adore it, groovy people out there!

Greg was one of major staff writers for Invictus/Hot Wax and co wrote most of the hits of Chairmen of the Board, Freda Payne etc. This his first solo album was originally released on Casablanca in 1975. It is now regarded as one the best soul albums of all time. Includes 'Variety is the Spice of life' and 'Come on down' Both popular and in demand modern soul tracks.


Track Listings
1. Variety Is the Spice of Life
2. I'll Be Comin Back
3. Will She Meet the Train in the Rain?
4. Next Time I See You (I'm Gonna Be Ready)
5. Boogie Man
6. Love Is Magic [Instrumental]
7. I Want to Live and Let Live (Love and Let Love All the Time)
8. Come on Down (Get Your Head Out of the Clouds)
9. Love Got Me Tired (But I Ain't Tired of Love)
10. One for the Road

The Reviews
1
I'll be frank. I spent $26US for this album as an import and took a risk by buying it. I've searched for the artist who performed "Come on Down" for 30 years. I first heard "Come on Down" my Senior Year of High School (75-76) and the song just struck me with the Lyrics first, then the music. Every time the song would come on I'd stop what I was doing and just...listen. As you can see, it's a sentimental journey for me, and worth the price. The rest of the album is very good.
Folks, this is mid 70's straight ahead soul. I invite you to get a copy for yourself if ever the album goes domestic - which means that you can save a bundle!!
Five stars for "Come on Down," for the rest of the album, four stars!!

2
Originally on Casablanca, this album has been reissued recently by the Soul Brother Records label from UK. It is a cult album among the Modern Soul lovers (Modern Soul is the name given to Soul Music which survived during the Disco era, keeping the flame alive). Greg Perry was from the Hot Wax / Invictus "family" and it shows: the album sounds a lot like those of Lamont Dozier from the same period. As for the quality and arrangements, no R'n'B artist from today, nor even Michael Jackson, could afford such an orchestra today, with string section, monster bass and all ; such were the times ... The album includes a very good instrumental track, "Love Is Magic", with handclaps, bass, wah-wah and all I love and the killers "Variety is the spice of life" - "Come on down".

For those who trust my taste so far, this is really amazing stuff.
One of my favorite. Grab it brothers!

Get it here
Greg_Perry_-_1975_-_one_for_the_road.rar

Tuesday, October 16, 2007

Wes Montgomery - 1962 - Full House

Personnel :
Wes Montgomery (guitar)
Johnny Griffin (tenor saxophone)
Wynton Kelly (piano)
Paul Chambers (bass)
Jimmy Cobb (drums).

Recorded live at Tsubo, Berkeley, California on June 25, 1962. Originally released on Riverside (9434). Includes liner notes by Orrin Keepnews. For starters, it is impossible to go wrong with the personnel on FULL HOUSE. With a rhythm section comprised of alumni from Miles Davis's first quintet (Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums) and the blazing tenor saxophone of Johnny Griffin complementing Wes Montgomery's bop leads on guitar, listeners will know they are in for a wild ride even before the album begins. Add to this an enthusiastic audience in a Berkeley jazz club in 1962 (where the performance was recorded), and one has a full house in more ways than one. Post bop with a soulful, bluesy edge is the flavor of the day here, and the group works out accordingly on Dizzy Gillespie's "Blue 'N' Boogie" and on Montgomery's own compositions, the title track and "Cariba," both of which meld shuffle-boogaloo rhythms to bop pyrotechnics, casting the whole in a soul-jazz vibe. A beautiful, smoothed-out read of "I've Grown Accustomed to Her Face" is a showcase for Montgomery's cool, melting tone. Listeners will undoubtedly wish they were in the audience in Berkeley that night; but listening to FULL HOUSE is the next best thing. (The Extended Resolution reissue of the CD provides superior audiophile quality.)

source : http://www.cduniverse.com/search/xx/music/pid/1035736/a/Full+House.htm

Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely. It had taken Wes a long time to become an overnight success. He started to teach himself guitar in 1943 (using his thumb rather than a pick) and toured with Lionel Hampton during 1948-1950; he can be heard on a few broadcasts from the period. But then Montgomery returned to Indianapolis, where he was in obscurity during much of the 1950s, working a day job and playing at clubs most nights. He recorded with his brothers vibraphonist Buddy and electric bassist Monk during 1957-1959 and made his first Riverside album (1959) in a trio with organist Melvin Rhyne. In 1960 the release of his album The Incredible Jazz Guitar of Wes Montgomery made him famous in the jazz world. Other than a brief time playing with the John Coltrane Sextet (which also included Eric Dolphy) later in the year, Wes would be a leader for the rest of his life. Montgomery's recordings can be easily divided into three periods. His Riverside dates (1959-1963) are his most spontaneous jazz outings, small-group sessions with such sidemen as Tommy Flanagan, James Clay, Victor Feldman, Hank Jones, Johnny Griffin, and Mel Rhyne. The one exception was the ironically titled Fusion!, a ballad date with a string section. All of the Riverside recordings have been reissued in a massive 12-CD box set. With the collapse of Riverside, Montgomery moved over to Verve, where during 1964-1966 he recorded an interesting series of mostly orchestral dates with arranger Don Sebesky and producer Creed Taylor. These records were generally a good balance between jazz and accessibility, even if the best performances were small-group outings with either the Wynton Kelly Trio or Jimmy Smith. In 1967 Wes signed with Creed Taylor at A&M and during 1967-1968 he recorded three best-selling albums that found him merely stating simple pop melodies while backed by strings and woodwinds. His jazz fans were upset, but Montgomery's albums were played on AM radio during the period. He helped introduce listeners to jazz, and his live performances were as freewheeling as his earlier Riverside dates. Unfortunately at the height of his success, he died of a heart attack. However, Montgomery's influence is still felt on many young guitarists. Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fifyxqy5ldhe~T1


Download It Here :

http://rapidshare.com/files/63038626/wes_montgomery_-_full_house.rar

Monday, October 15, 2007

The Softones - 1977 - Black Magic

This album remind me of why i love good soul music!

Often compared to The Stylistics, The Softones have a style that is truly ALL THEIR OWN. Turn the lights down low, cuddle up with your significant other, sip on your favorite beverage, and enjoy it.

You can stand those songs against any of the '70s soul groups--Delfonics, Blue Magic , Dramatics, the Moments and the like.
Marvin Brown's falsetto is the most dynamic voice I heard prior to Philip Bailey of Earth Wind and Fire.

Smooth soul at it's finest.

Track List

Side 1
1. Call it love
2. Go on with the snow
3. Laundromat
4. (Where Do I Begin) Love Story

Side 2
1. That old black magic
2. Maybe Tomorrow
3. Bulldog (Dog Power Song)
4. Love Child

The Reviews

1

Based on the power and sheer beauty of these songs it's difficult to understand why The Softones' recordings never matched the popularity of those of The Delfonics, The Stylistics, The Dramatics or The Dells. This group's singers were just as good as those of the above-mentioned groups. No "Sweet Soul" fan should be without this.

2

I have always been a great fan of the Softones and were delighted with the release of this cd "Best of"back in the nineties but were first introduced to these soul greats as a teenager and remember my elder brother spinning the tracks of the Black Magic album over and over again.To my untrained ear I thought it was Russell Thompkins Jr , Ted Mills or Leroy Burgess III leading but as always my elder brother educated me that it is neither the Stylistic, Blue Magic or Black Ivory but The Softones.

Bio

The Softones are a "sweet soul" group from the city of Baltimore, Maryland. Their biggest hits were: "My Dream", "Can't Help Falling in Love", "I'm Gonna Prove It", "Carla My Love", and "That Old Black Magic".They recorded for the Avco Records record label, in the early to mid 1970s. They were a very underrated singing group, whose initial breakout recordings were blessed with superb production. A single listen to the lush production of "My Dream" transforms you to another place, a magical kingdom, with the majestic use of strings and French horns that is this tune's opening signature... in the same fashion as Thom Bell's early arrangements for The Delfonics, the song "Didn't I (Blow Your Mind This Time)" as an example. Lead singer Marvin Brown's high falsetto, similar to that of Earth, Wind & Fire's Philip Bailey, only higher and smoother and almost as instantly recognizable. Also in the group are Steven Jackson and Elton Lynch. To this date, they are still together and still singing.Like The Stylistics, The Softones were also produced by Hugo Peretti, Luigi Creatore, Joseph E. Levine, and the late Van McCoy, whose orchestra, comprising the top New York session players of the era, served as the house band for many of these Avco recording.

Get this smooth soul here

softones_-_1977_-__black_magic.rar

Saturday, October 13, 2007

The Stairsteps - 1976 - 2nd Resurrection

Has anyone ever heard the classic song "Ooh Child"? Surely it is one of the singular R & B jams of the 70s. That jam is often revisited in movies with a 70s theme ("Boyz in Duh Hood", Spike Lee's "Crooklyn" and later still in "Dead Presidents"). "Ooh Child" was recorded by the Stairsteps (formally, "The Five Stairsteps")-- and for one golden moment in time, they were the biggest, most talented R & B siblings in the biz, before a little group of afro-topped kids called The Jackson Five stole their thunder. it was Curtis Mayfield who really gave them a push -- as he discovered them, produced them, and wrote some excellent songs for them during their best early years.

Anyway, skip to five years later, and the newly named "Stairsteps" broke new ground with a masterful, synth-driven opus entitled "2nd Resurrection". This album is the jam. It was far ahead of its time (in 1976) and each selection on this LP leads, without pause, into the next and the effect melts like psychedelic butter on vinyl.

The song "Pasado" alone ( a mellow moody she-done-me-wrong very hummable ditty) should've been a major hit for these guys. The song is sung in English and features a part-Spanish chorus. Quite simply, it is a spectacular melding with all its moogs and modulated melancholy.

It was and is a very distinctive artistic collection, that like most great art, somehow missed connecting with the masses. Hopefully this album was included in the 100 greatest soul albums of all time compiled by Mojo Magazine.

Tracks
A1 From Us to You 3:39
A2 Pasado 3:09
A3 Theme of Angels 3:19
A4 Lifting 2nd Resurrection 3:45
A5 Time 3:48
B1 Throwin' Stones Atcha 3:04
B2 Far East 1:06
B3 In the Beginning 2:53
B4 Tell Me Why 4:31
B5 Salaam 4:34

All songs produced by Billy Preston, Robert Margouleeff and Stairsteps

For me this is the gold standard of albums. I can remember hearing 'From Us To You' on the radio on it's release debut could never get hold of the album as it was deleted almost immediately in the UK. It took me about 7 years to get a copy and I stumbled across it by accident at a record fair, which is usually the way. The album is an absolute tour de force you cannot get better than this and yes it's the same Stairsteps group that sang 'Ooh Child' years before. This album came out on the late George Harrison's Dark Horse record label. Stairsteps are the Burke brothers; Kenneth, James, Dennis and Clarence, they reformed in 1976 and produced this beautiful album that sounds as fresh today as it did in 1976. My personal feeelings are that the album was perhaps way ahead of it's time and if it had been released today we'd all be raving about it. 'From Us To You' was a hit for them, however I love the laidback groove of 'Pasado', the vocals are a little slice of heaven. There are instrumentals on the album such as 'Theme of Angels', 'Far East' and 'Salaam'. The other greats tracks are 'Time', 'Lifting 2nd Resurrection', 'Throwin' Stones Atcha', 'Tell Me Why'and 'In The Beginning'. The greatest crime committed against this album is that It hasn't been reissued on vinyl or CD, so if you can track down a vinyl copy, then snap it up.


Get it here
Stairsteps__1976_-_2nd_resurrection.rar (new link)

Stairsteps_-_b5_-_salaam.rar (For those who missed it)

Friday, October 12, 2007

Funkadelic - 1973 - Cosmic Slop

Funkadelic - 1973 - Cosmic Slop

Tracks :
01 Nappy Dugout (4:33)
G Clinton, Garry Shider, Cordell Mosson}
02 You Can't Miss What You Can't Measure (3:03)
G Clinton, Sidney Barnes
03 March to the Witch's Castle (5:59)
G Clinton
04 Let's Make It Last (4:08)
G Clinton, Eddie Hazel)
05 Cosmic Slop (5:17)
G Clinton, B Worrell
06 No Compute (3:03)
G Clinton, Garry Shider
07 This Broken Heart (3:37)
W Franklin
08 Trash A-Go-Go (2:25)
G Clinton
09 Can't Stand the Strain (3:27)
G Clinton, E Hazel

Personnel :
Keyboards & Melodica, Strings on 'Broken Heart': Bernard Worrell
Bass: 'Boogie' Mosson
Percussion: Tyrone Lampkin
Lead & Rhythm Guitar: Gary Shider
Lead & Rhythm Guitar: Ron Bykowski
Guest Funkadelic Maggot: Tiki Fulwood, Drums on 'Nappy Dugout'

Reviews :

1
With each successive release, Funkadelic was streamlining its sound, a process culminating in such early '70s classics as COSMIC SLOP. The group's acid rock-heavy early work had metamorphosed into straight-up, party hearty funk, with lyrics that alternate between the serious (the title track) and the humorous ("No Compute"). It may not be as awe-inspiring as their masterpiece, MAGGOT BRAIN, but, more than any other Funkadelic album, COSMIC SLOP stresses the importance of the almighty groove.

The album opens with one of Funkadelic's funkiest tracks ever, the largely instrumental "Nappy Dugout." It's clear from the start that Funkadelic, despite a revolving cast of characters, is one of the tightest bands around. The aforementioned title track is perhaps the group's best known number. It tells the downhearted tale of a young single mother who has to turn to the shadier side of the streets to support her family, but the music has obvious pop leanings. Other highlights include the vicious Led Zeppelin-esque rocker "Trash A-Go-Go," the album-closing soul ballad "Can't Stand the Strain," and the brokenhearted "You Can't Miss What You Can't Measure."

~Amazon.com

~@~@~
2
One of our favorite early Funkadelic albums -- and a real turning point for the group! Gone are the trippier guitar solos of earlier days, and in their place is a tighter approach to funk -- one that has the band grooving hard and soulfully on shorter tracks that perfect the dark vision hinted at in the Maggot Brain years! The tunes are shorter, funkier, and catchier -- and the vocals are especially great -- so much so than on the title cut "Cosmic Slop" has harmonies so great you'd swear you were listening to late-Motown Temptations! Other tracks continue with a great soul-based focus.

~DustyGroove.com

~@~@~
3
With a much more stripped-down version of the band, if the credits are to be believed (five regular members total, not counting any vocalists), Funkadelic continued its way through life with Cosmic Slop. A slightly more scattershot album than the group's other early efforts, with generally short tracks (only two break the five-minute barrier) and some go-nowhere ballads, Cosmic Slop still has plenty to like about it, not least because of the monstrous title track. A bitter, heartbreaking portrait of a family on the edge, made all the more haunting and sad by the sweet vocal work -- imagine an even more mournful "Papa Was a Rollin' Stone" -- the chorus is a killer, with the devil invited to the dance while the band collectively fires up the funk. Elsewhere, the band sounds like it's more interested in simply hitting a good groove and enjoying it, and why not? If introductory track "Nappy Dugout" relies more on duck calls and whistles than anything else to give it identity, it's still a clap-your-hands/stomp-your-feet experience, speeding up just a little toward the end. As for the bandmembers themselves, Bernie Worrell still takes the general lead thanks to his peerless keyboard work, but the guitar team of Gary Shider and Ron Bykowski and the rhythm duo of Tyrone Lampkin and Cordell Mosson aren't any slouches, either. George Clinton again seems to rely on the role of ringleader more than anything else, but likely that's him behind touches like distorted vocals. Certainly it's a trip to hear the deep, spaced-out spoken word tale on "March to the Witch's Castle," a harrowing picture of vets returning from Vietnam -- and then realizing that Rush ripped off that approach for a song on its Caress of Steel album a year or two later!

~by Ned Raggett [AMG]

Get it here @ 256
Funkadelic - 1973 - Cosmic Slop

Tuesday, October 9, 2007

Leroy Hutson - 1973 Love Oh Love & 1975 Leroy Hutson

Leroy Hutson had an amazing start to his career as a solo artist.He kept churning out one fine LP after another,with these recordings being his best. In fact it could be argued that all his work for the the Curtom label is essential listening.The quality level is high and the music smooth,well written and lushly produced.Heavy use of strings and horns and a fine understanding of songwriting.

Why this guy is not more famous is a complete mystery to me.
His albums are a must for any soul lover's collection without hesitation.

All the groovy people will enjoy these recordings.

Leroy Hutson - 1973 - Love Oh Love

Tracklisting:
A1 So In Love With You (2:58)
A2 Love Oh Love (3:48)
A3 When You Smile (4:21)
A4 Getting It On (Theme For The "Jay Johnson Affair") (3:59)
B1 Time Brings On A Change (4:45)
B2 I'll Be There, I'll Still Care (3:07)
B3 I'm In Love With You Girl (2:40)
B4 As Long As There's Love Around (3:31)

1

Another of black music's finest singers, musicians, writers, arrangers, producers - he did it all! Leroy Hutson's first four albums are all essential. Soulful as hell, with a touch of blues, gospel and jazz - Hutson's high-pitched vocal style just oozes with good vibes. It's an album you can leave on from beginning to end - the ballads fitting in between such uplifting string-laden tracks such as the title track. Those strings could only have come from Chicago - and indeed Hutson was part of the Curtom stable of Curtis Mayfield and The Impressions. There's also some serious funk - such as Time Brings On A Change and the ARP synth workout Getting It On (the theme from The Jay Johnson Affair).

2
After working as a writer and producer for such soul music stalwarts as Donny Hathaway and a stint replacing Curtis Mayfield as the lead vocalist in the Impressions, Leroy Hutson embarked on a solo career with 1973's Love Oh Love. The album combines the kind of smooth soul music that Hutson performed with the Impressions with more ambitious and conceptual outings in the vein of Marvin Gaye and Stevie Wonder. When Hutson sticks to love songs, Love Oh Love is magical: "So in Love With You" combines a honey-sweet romantic vocal from Hutson with a spine-tingling string arrangement to create an elegant and heartfelt ballad, while the title track raises its tale of lost love to an up-tempo level with jazzy horns and a percolating rhythm arrangement. "As Long as There's Love Around" is another effective romantic track that layers Hutson's velvety vocals over a complex instrumental track that combines gentle strings and brash horns with an insistently grooving bassline. The progressive-minded tracks are less satisfying: "Time Brings on a Change" is a political commentary song whose use of a Martin Luther King sample is a little too gimmicky for its own good, and "Getting It On" is a funk instrumental that fails to work any memorable hooks into its pleasant groove. Despite these problems, nothing on the album is less than listenable and everything flows together nicely to create a cohesive (if somewhat short) album. In short, Love Oh Love is one of the most consistent albums in the Leroy Hutson catalog and a good introduction to his silky soul style.

Get it here

leroy_hutson_-_1973_-_love_oh_love.rar

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Leroy Hutson - 1975 - Leroy Hutson

Tracklisting:
A1 All Because Of You (7:03)
A2 I Bless The Day (4:45)
A3 It's Different (4:42)
B1 Cool Out (3:00)
B2 Lucky Fellow (5:02)
B3 Can't Stay Away (6:33)
B4 So Much Love (3:19)

1

An amazing record -- quite possibly the best ever by Chicago soul legend Leroy Hutson! The whole thing's a smooth soul masterpiece beyond compare -- a stunning blend of great songwriting, sexy vocals, and buttery production that rank it up there with the best work of 70s giants like Marvin Gaye, Leon Ware, or Roy Ayers. Leroy's got a voice that's both warm and mellow, yet incredibly honest at the same time -- and the songs on the record show a range of colors and emotions that perfectly fit his unique style. Features mellow "Cool Out", the funky "Lucky Fellow", the sweet "All Because Of You", and the sublime cuts "It's Different" and "Can't Stay Away". The whole thing's great -- and is one of the crowning achievements of the Chicago soul scene!

2

LeRoy Hutson is one of the great songwriters, singers, producers in soul muisc - a superstar! Or at least he should've been. Over the years he's been getting more and more recognition for albums such as this, which he thoroughly deserves as this is one-helluvan-album. Released on Curtis Mayfield's Curtom Records in 1975 (LeRoy replaced Curtis in the Impressions before the inevitable move to go solo), this is possibly LeRoy's best LP as it contains the all-time classics 'All Because Of You' and 'Lucky Fellow' which are bona-fide soul treasures! But the whole thing is great and will appeal to lovers of real soul, rare groove, funk, and great quality music! In a word (well, a few words): YOU NEED THIS ALBUM!

Get it here

Leroy_Hutson_-_1975_-_leroy_hutson.rar

Sunday, October 7, 2007

V.A. - Soul Diva Sessions

Classic 60's & 70's Ladies Soul with attitude

Comprising 30 tracks spread across 2 CDs, "Soul Diva Sessions" features an imaginative blend of familiar and obscure female voices. From soul music's Premier League you'll discover cuts by legendary figures like Aretha, Nina Simone, a juvenile Patti LaBelle (with the Bluebelles in tow), Gladys Knight and Mavis Staples. The real gems, though, come from cult figures like Betty Lavette, Barbara Lynn, Liz Lands, Peggy Scott, Eloise Laws and Ann Sexton. Southern soul is represented by the feisty Millie Jackson, the tempestuous Ann Peebles (the classic Willie Mitchell-helmed "I'm Gonna Tear Your Playhouse Down") and Jean Knight, whose infectious "Mr. Big Stuff" sounds as fresh and vibrant as it did on its original Stax release back in 1971. Soulful disco also gets a look in thanks to the sassy First Lady Of Curtom, Linda Clifford ("Don't Give It Up") as does sunny Florida soul, exemplified by Gwen McCrae's first solo 45 from 1970, "Lead Me On." Overall, a supremely entertaining femme soul fest.

Tracks

CD1

1 Barbara Lynn - This Is The Thanks I Get
2 Betty Lavette - Let Me Down Easy
3 Betty Everett - Getting Mighty Crowded
4 Liz Lands - One Man’s Poison
5 Betty Harris - There’s A Break In The Road
6 Jody Gayles - You Gotta Push
7 Nina Simone - Save Me
8 Aretha Franklin - The Weight
9 Gwen McCrae - Lead Me On
10 Millie Jackson - A Moment’s Pleasure
11 Mavis Staples - Koochie Koochie Koochie
12 Ann Sexton - Color My World Blue
13 Eloise Laws - Love Factory
14 Linda Clifford - Don’t Give It Up

CD2

1 The Ad-Libs - Giving Up
2 Peggy Scott - Every Little Bit Hurts
3 P.P. Arnold - The First Cut Is The Deepest
4 The Fascinations - I Can’t Stay Away From You
5 Doris Allen - Hanging Heavy On My Mind
6 Patti LaBelle & The BlueBelles - All Or Nothing
7 Freda Payne The Easiest Way To Fall
8 Patti Jo - Make Me Believe In You
9 Ann Peebles - I’m Gonna Tear Your Playhouse Down
10 Laura Lee - I Need It Just As Bad As You
11 Jean Knight - Mr Big Stuff
12 Ike & Tina Turner - Cussin’, Cryin’ & Carryin’ On
13 Gladys Knight & The Pips - Stop & Get A Hold Of Myself
14 Mary Love - Lay This Burden Down
15 Betty Harris - Ride Your Pony
16 Barbara Lewis - Baby I'm Yours

There's not much rhyme or reason to this two-CD, 30-track compilation of woman-sung soul from the 1960s and 1970s. With just two big hits (Jean Knight's "Mr. Big Stuff" and Barbara Lewis' "Baby I'm Yours"), it's certainly not a best-of for the category. And though it does have tracks by a few hitmakers (Aretha Franklin, Nina Simone, Mavis Staples, Betty Everett, Patti LaBelle, Ike & Tina Turner, Gladys Knight & the Pips), none of those selections would count among these performers' better-known recordings. As a kind of arbitrary but wide-ranging compilation of not-too-well-known soul, however — licensed from an impressive variety of labels — it's a fairly good investment for someone who's not a systematic soul collector, but wants something full of pretty high-quality stuff in a style that they probably haven't heard before. The focus is too sprawling to lend itself to quick summarization, but some of the highlights span several micro-genres — dramatic pop-soul (Betty Lavatte's "Let Me Down Easy," P.P. Arnold's "The First Cut Is the Deepest," Patti LaBelle & the Bluebelles' "All or Nothing"), pre-disco (Gwen McCrae's "Lead Me On," the Ad-Libs' cover of Van McCoy's "Giving Up"); upbeat dancefloor soul (Everett's "Getting Mighty Crowded," Knight's pre-Motown gem "Stop & Get a Hold of Myself"); funky New Orleans soul (Betty Harris' "There's a Break in the Road"); arching ballads (the Fascinations' "I Can't Stay Away From You"); Hi Records soul-funk (Ann Peebles' "I'm Gonna Tear Your Playhouse Down"); and an obscure Curtis Mayfield cover in the Superfly style (Patti Jo's "Make Me Believe in You").

Get the Ladies here

Soul_Diva_cd1.rar

Soul_Diva_cd2.rar

Saturday, October 6, 2007

The Harvey Averne Dozen - 1971 - The Harvey Averne Dozen

The Harvey Averne Dozen - 1971 - The Harvey Averne Dozen

Tracks :
1. Never Learned to Dance
2. Dynamite
3. Girl That I Love
4. I Feel Fine
5. Central Park
6. Beat Goes On
7. Can You Dig It
8. Accept Me
9. Why Can't We Really Be Free
10. Lullaby from Rosemary's Baby
11. Goin' Out of My Head
12. Gotta Do My Number

One of Harvey Averne's classic Latin Soul crossover albums, with a number of short instrumental renderings of pop and soul standards, plus a few tracks of his own - all with a great loud Latin Soul feel! Marty Sheller handled the arrangements, and the whole album's a nice batch of soulful choppy instrumentals, similar to some of Marty's work with Mongo Santamaria.

Review :
Leading off with "Never Learned to Dance," one of his most frenetic singles, Averne certainly didn't let up for his second album. The opener is a great piece of boogaloo popcorn, with a background of punchy brass and wild-man electric piano solos. The first side of The Harvey Averne Dozen alternates vocal tracks (usually slow-dance period pieces) with some hot instrumentals, more in a funk vein than salsa. The album wins out with instrumentals like the original "Dynamite" and the Beatles cover "I Feel Fine," while the bland vocal tracks "Girl That I Love" and "Central Park" only succeed in dragging down the proceedings. The second side takes a slight dip in quality, with rote versions of "Goin' Out of My Head" and even "Lullaby From Rosemary's Baby." It's not an LP masterpiece by any means, but surprisingly good for the times.
~ John Bush, All Music Guide


Get it here @ 192
http://rapidshare.com/Harvey_Averne_Dozen.rar

Thursday, October 4, 2007

Billy Paul - 1970 - Ebony Woman

Billy Paul - 1970 - Ebony Woman

Neptune Records NPLS-201

Tracks :
A1 Ebony Woman
A2 Mrs. Robinson
A3 The Windmills Of Your Mind
A4 Everyday People

B1 Let's Fall In Love All Over
B2 Windy
B3 Psychedelic Sally
B4 Traces
B5 Proud Mary

Review :
An amazing early album from Billy Paul -- the start of a rich career of sophisticated soul! The first track, "Ebony Woman", perfectly sums up Billy's style -- as it's a complicated mix of jazz and soul, with that mature style that was also being forged by Isaac Hayes over at Stax during the same period.

1973 2nd Issue Of The Rare Neptune LP (Different Cover Art)

Bio :
Billy Paul had a good run in the '70s as an RB vocalist, though he'd been recording since the '50s, when he debuted on Jubilee. Paul was featured on radio broadcasts in Philadelphia at age 11 and had an extensive jazz background. He worked with Dinah Washington, Miles Davis, and Roberta Flack, as well as Charlie Parker, before forming a trio and recording for Jubilee. His original 1959 recording of "Ebony Woman" for New Dawn was later re-recorded for Neptune as the title of his 1970 LP. He signed the next year with Philadelphia International and scored his biggest hit with "Me Mrs. Jones" in 1972, topping both the RB and pop charts. Paul had one other Top Ten RB single, "Thanks for Saving My Life," in 1974. He remained on Philadelphia International until the mid-'80s. Paul recorded one LP for Total Experience in 1985, Lately, and another for Ichiban before announcing his retirement in 1989 in London. But he's since done several club dates, both in America and overseas.
~ Ron Wynn, All Music Guide

Get it here @ 320
http://rapidshare.com/Billy_Paul_-_Ebony_Woman.rar

Monday, October 1, 2007

Sam Dees - 1975 - The Show Must Go On

One of the best 70s SOUL lps - killer soul from start to finish.

Sam Dees is one of the best under-rated soul artists & singer/songwriters of the 70's, he recorded for SSS, Chess, Atlantic & Polydor.

"The Show Must Go On" is one of the forgotten pearls in soul music.

Only a few people seem to know or own this album which is only available on vinyl. If you should come across this remarkable record containing deep and well-arranged soul buy it.

Tracks

1.Child Of The Streets
2.The Show Must Go On
3.Come Back Strong
4.Just Out Of Reach
5.Claim Jumpin'
6.Troubled Child
7.What's It Gonna Be
8.Worn Out Broken Heart
9.Good Guys
10.So Tied Up

The Reviews

Incredible soul music from one of the unsung greats of the 70s! Sam Dees' only album for Atlantic, The Show Must Go On, is one of our best-selling rare originals, when we manage to get it! If you're one of the lucky few who've got a copy, you'll know that he's got an excellent style of soul that mixes a deep soul style with sort of a Chicago style, for a very unique sound.

(Dusty Groove America)

AT SIX FOOT FOUR and two-hundred-plus pounds, Sam Dees is a soul giant in more ways than one. One of black America’s premier songsmiths, he also cut the classic, maddeningly hard-to-find Atlantic album The Show Must Go On (1975), a sampler of sublime ballads like 'Worn Out Broken Heart' and funky Southern smessage songs like 'Claim Jumpin’'. A rare chance for this stellar Alabaman writer to get his own voice heard.
(Mojo Magazine)

Bio
At the age of 9, already champion of several singing contests, he founded his own vocal group, the "Bossanovians". As a teenager he traveled to perform and, in 1968 he recorded his first single at Nashville, Tennessee's SSS International. He put out his next few singles on Birmingham-based Lolo Records. At the same time he was beginning to earn respect as a writer and producer. Chess Records producer Lenny Sachs gave him an opportunity to self-produce two singles on the Chess label, which Dees recorded in a former church in Birmingham. From there he began recording for Atlantic, which released his landmark album The Show Must Go On in 1975.
Since then, Dees recording career moved to the back burner while he wrote hits for other singers, such as "Am I Dreaming" (Atlantic Starr), "One in a Million You" (Larry Graham), "Save the Overtime (For Me)" (Gladys Knight), "Love All the Hurt Away" (George Benson and Aretha Franklin), and "Lover for Life" (Whitney Houston).

Artists performing Sam's compositions are Whitney Houston (4 albums), Gladys Knight and the Pips (5 albums), Atlantic Starr (7 albums), Tyrone Davis (7 albums), Aretha Franklin, The Temptations, Gerald Alston, Regina Belle, George Benson, Jeffrey Osborne, The Manhattans (5 albums), L.T.D. (4 albums), Teddy Pendergrass, Jackie Wilson, The Brothers Johnson, Loleatta Holloway, Keisa Brown, Ace Cannon, Clarence Carter, Luther Ingram, Millie Jackson, Margie Joseph, Frederick Knight, Denise LaSalle, K.C. & the Sunshine Band, Dorothy Moore, Sandra Hall, Willie Clayton, Enchantment, Bobby Patterson, Billy Scott, Arnold McCuller, Ted Taylor, Benjy Myaz, Ol Skool, William "Doc" Powell, Don Diego and many others.

Get it here 256@
Sam_Dees_-1975-_The_show_must_go_on.rar