January 2008

Wednesday, January 30, 2008

Masterfleet - 1973 - High On The Sea

I am so glad we are back. We feel so strong and ready for more great music.

Here is a group in their only lp. It is funky and boogie from 1973 and It's got that instrumental bit of that dream sequence, the harp and the sea coming in.

Unfortunately i can not find any review or more details but i am sure you'll like it very much.

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

Tracks

Side1
A1. First Voyage
A2. Skull Stone
A3. Let Love Stand
A4. Man & Child
A5. Well Phase I

Side2
B1. Malfunction
B2. Academy Awards
B3. When You're A New Born Child
B4. Until Tomorrow
B5. Well Phase II

(from the back cover)
Compton, California is a “creative womb” for nurturing fresh and excellent talent. A few of Compton’s children are War, The Sylvers and the Jackson Sisters. This album marks the birth of another group that follows the same tradition : Master Fleet.

As The Name denotes, Master(superior) Fleet (in this case Bodies), the group consists of together musicians who are armed with music that will conquer your musical taste.

On this, their first voyage on the seas of your soul, the Fleet crew consists of Fleet Admoral Linus Ceph(an arian who is the musical creator), Ronald Gibbs (a Sagittarian who keeps the crew in good spirits with his clowning) and the Rice Twins, Sterling and Stephen(who are identical Libras who add mellowness to the Fleet’s sound).

Join the Masterfleet on their musical trip and let them guide you on the high seas.

Get it here
Masterfleet_-1973-__High_On_the_Sea.rar

Posted by nikos1109 at 1/30/2008 03:07:00 PM
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Monday, January 28, 2008

We Are Back !!!

Tuesday, January 22, 2008

Seks Bomba - Operation B.O.M.B.A.

It looks like a soundtrack but it isn't. Yet, it could have easily been one. Seks Bomba are a Boston award-winning band and they play an excellent multi-layered blend of spy themes, space age lounge, go go beat and hammond grooves. Their singer sounds like a sarcastic crooner and their technical abilities are out of this world. Operation B.O.M.B.A. contains captivating retro songs as well as many frantic instrumentals. Check out the "Seks Bomba Theme" to see what I mean. You can also visit their website here. The surprising thing is that Seks Bomba seem to be relatively unknown outside their homeland. In fact, it was exceptionally hard for me to find their album down here in Greece. I visited many record shops until I managed to find one where they ordered it for me and it arrived a couple of months later!!! Nevertheless, no matter how hard it can be to find their album, it is definitely worth a try. Go buy it, guys, and support Seks Bomba.


Operation B.O.M.B.A.

Wednesday, January 16, 2008

Altona - Chickenfarm (1975)

If you are in the mood for some top notch jazzrock then look no further than Altona's 1975 follow up album 'Chickenfarm' to satisfy your urge. 'Chickenfarm's' sound is well within the mid-70's progressive framework, but Altona managed to steer clear of the technical deepend, opting instead for a more rock-based Anglo-American approach containing catchy riffs and memorable melodies. Overall the sound of this album reminds me of a more mainstream Passport mixed with a little bit of Birth Control. Vocally, Karl-Heinz Blumenberg (who sounds like Bernd Noske of Birth Control) was one of the more talented vocalists in the genre and his voice stands out and carries the melodies quite well. Musically, the strongest elements come from the horn section composed of Blumenberg, Von Ronn, and Wulff. Their sound is textured and tight, fitting perfectly into the mix. Standout tracks include: 'Elephant Walk', 'Lover's Tale', 'Back Again', and 'Chickenfarm'. 'Lover's Tale' is an atmospheric ballad containing strong melodies and a catchy horn section whereas 'Back Again' is a funky upbeat number with a slight discordant feel and an atmospheric chorus. Both are great tracks, but the most notable track on the album is the self-titled 'Chickenfarm'. The album's sole extended track, clocking in at over 10-minutes, 'Chickenfarm' builds upon a delicate guitar arpeggio in dynamic fashion as a powerful orchestration enters into the mix, builds upon the theme, then ushers in an incredibly atmospheric and epic keyboard sequence. The remaining several minutes allow the band a chance to flex their progressive muscle and includes sax and piano leads. Sadly, this proved to be the bands final recording although a few of the members did regroup shortly in the late 70's as Dirty Dogs releasing the albums 'Running Wild' and 'Seven Lives For Rock 'N' Roll.'
(via Krautrock Album Database)

1) Elephant Walk
2) Lover's Tale
3) Ramadam
4) Tango Lady
5) Back Again
6) Feigenblatt
7) Chickenfarm

GET IT HERE OR HERE

Tuesday, January 15, 2008

Lost-In-Tyme It's Under Attack !!!

We have a major problem with this DMCA complaints.
Someone it's trying to close Lost-In-Tyme...

Please note
that repeated violations to our Terms of Service
may result in further remedial action
taken against your Blogger account.

So I have to close this blog(s) before that happens.
I know that it sounds hard for all (especially for me)
But this blog it's not only download links.

It's a HUGE MUSIC LIBRARY and I can't let anyone to destroy it.
I will close tomorrow all pages.
(at least 'till I found a solution for this problem)

A private blog it's not a solution, so Don't send me requests for invitations.
You will not have access for some days...that's all.

Any proposals are welcome.

Sunday, January 13, 2008

Little Beaver - 1974 - Party Down

One of the few really fantastic albums to come out of the Miami scene of the seventies! The great Little Beaver lays down some righteous guitar and heavy vocals over a cool spare backing groove on cuts like "I Can Dig It Baby", "Money Vibrations", "Let The Good Times Roll", and "Party Down (parts 1 & 2)". The sound is sort of a mix between Shuggie Otis' Inspiration Information LP and heavier funk outings, and the record's a classic bit of southern 70s funk.

This is a @320 vinyl rip of my original Cat Records LP with covers.

Tracks

A1. Party Down Pt. 1 3.14
A2. Party Down Pt. 2 3.33
A3. Money Vibrations 3.39
A4. Get Into The Party Life 4.06
B1. I Can Dig It Baby 5.18
B2. Let The Good Times Roll 5.49
B3. Let's Stick Together 5.01

1
This is a great album. Little Beaver is a great unknown guitar player and this is some of the coolest, funkiest music around. The album has lots of great, laid back grooves. Fans of Jaco probably know of this because it features him on 'I can dig it baby.' That track has some great bass playing on it.This album is a must for any music fans, especially fans of funk and jazz.

2

Everybody liked Little Beaver; he played guitar on TK sessions for Betty Wright, Lattimore, Timmy Thomas, and others, so owner Henry Stone threw him a bone every now and then and let him record under his name. He never came up with enough quality material to fill an album, but that didn't stop TK Records from issuing Little Beaver LPs. Party Down features both sides of Little Beaver's finest recording, the jazzy "Party Down"; the melodic, lilting winner features his articulate lead guitar and sweet chord progressions. Only "Get Into the Party Life" is comparable; it too has jazzy overtones but is not as compelling.

"Let's Stick Together" and "I Can Dig It Baby are also great funky tunes.

After ending his recording career in the late 1970s, he was recruited by Betty Wright in 2003 to play on Joss Stone’s albums The Soul Sessions and Mind, Body & Soul.

His track "Get Into The Party Life" is prominently sampled on Jay-Z's track "Party Life" from his American Gangster album.

This record was included in the 100 Best Soul Albums ever by Mojo Magazine.

Get it here
Little_Beaver_-_1974_-_Party_Down.rar

Saturday, January 12, 2008

Chick Corea - 1976 - My Spanish Heart

Pianist Chick Corea is best known for his fusion groups Return to Forever and Chick Corea's Elektrik Band, but his deep background is in the salsa he played with Mongo Santamaria in his introduction to the scene, and his interest in the lyrical melodic statements of Spanish-American music is obvious throughout his career. This ambitious program takes on a number of aspects of what Corea clearly sees as a key part of his cultural heritage. The 17-piece orchestra that provides the central context here is meant to be reminiscent of the Miles Davis/Gil Evans collaboration on Sketches of Spain and Charles Mingus's exploration of similar melodic themes on Tijuana Moods. --John Swenson


Download It Here :

http://rapidshare.com/files/82741773/chick_corea-_my_spanish_heart.zip

Friday, January 11, 2008

American Gypsy - 1975 - Angel Eyes

This is a tough one to categorize. Originally I was going to label it funk, but that's not a true reflection of the band. Similarly their not pop, rock, soul, progressive. Maybe I should start a 'multi-genre' category ? Anyhow, it also took me awhile to warm up to this LP, but having given it a chance it's now a subtle pleasure.

The band's actually got an interesting, if somewhat torturous history. Formed in the early-1960s, over the next decade the group went through a series of name, personnel and genre changes, including Blue Morning, Orpheus, and The Pasadena Ghetto Orchestra (love that last name). They managed to pay their bills as sessions players, supporting a wide array of acts ranging from The Byrds to Barry White.

Frustrated with their inability to break on their own, in 1972 the group (with a line up consisting of singer Steve Clisby, guitarists Michael Hamane and Dale Harrel Jr., drummer Richard James, percussionist Lorezo Mills, and bassist Joe Skeete), decided to abandon the US music scene and take a stab at success in Europe. Avoiding the UK they opted to take up residence in Limburg, Holland where they caught the attention of manager/producers Piet Souer and Hans van Hemert who proved instrumental in getting them signed to Philips (Ariola signing them to a German distribution agreement).

Released in 1974, the band debuted with the single 'Angel Eyes' b/w 'Let Your Life Be Led By Love' (Philips catalog number 6012435). A mix of Sly Stoned-psych and disco stomper the single proved a surprise hit. As was standard marketing procedure, Philips rushed the band into the studio to record a supporting LP - the cleverly-titled "Angel Eyes". Picking up on the band's success, Chess jumped in signing on as the band's US distributor. Who knows why, but for the domestic market Chess elected to slap an alternative cover and title on the set.

Co-produced by Souer and van Hemert, their 1975 album debut "American Gypsy" was a diverse and somewhat enigmatic enterprise. With most of the band and producers Souer and van Hemert contributing material, the album bounced all over the musical spectrum. As lead singer Clisby had a chameleon-like voice capable of mimicking everyone from classic love man crooner ('10,000 Miles') to whacked out Sly Stone ('Lady Eleanor'). The latter had to be the strangest cover of a Lindisfarne song you'll ever hear and was actually a Dutch hit. The diversity factor may have been unsettling but made for album that was also a lot of fun to play 'spot-the-influence' with. The lead off rocker 'Inside Out' recalled a blend of Sly Stone funk and Barrett Whitfield produced psychedelic-era Temptations. Written by van Hemert 'Ooh Why Not' sounded like first-rate Brit pop - imagine a Chapman-Chinn production with Beach Boys harmonies attached. 'Golden Ring' was conventional old school soul, before breaking into a jazzy scat propelled ending. There was even a pretty cool synthesizer-driven progressive instrumental - the closer 'Tribute To American Gypsy' ! Not the year's most original offering, but fun through and through. For the US market Chess also tapped the LP for a single in the form of 'Angel Eyes' b/w '10,000 Miles' (Chess catalog number CH-2170). Both the single and the parent LP went nowhere effectively spelling the end to their US recording career.

1) Inside Out
2) 10.000 Miles
3) Ooh Why Not
4) Golden Ring
5) Lady Eleanor
6) Angel Eyes
7) While It's Cold Outside
8) Stuck On You
9) Let Your Life Lead By Love
10) Tribute To American Gypsy
11) Slip And Slide
12) Gypsy Music
13) Real Thing
14) Your Way
15) Central Station
16) Don't Give Up
17) In The Morning
18) Shot Down
19) Queen For A Day
10) I'm O.K., You're O.K.

DOWNLOAD

Thursday, January 10, 2008

Greg Perry - 1977 - Smokin'

Greg Perry - 1977 - Smokin'

Mellow soul by Chiarmen Of The Board's leader, with sophisticated arrangements over sweet melodies. It includes two up-tempo, plus the mid-tempo "How's Your Love Life, Baby", a great groover in the vein of the Willie Hutch ones on Motown in the mid 70"

Tracks :
1 Where There's Smoke, (There's Fire) 6:38
2 Melodie 3:28
3 (I Can See The) Handwriting On The Wall 4:28
4 How's Your Love Life, Baby? 4:21
5 I'll Always Be In Love With Love 6:35
6 A Taste Of You (Is A Taste Of Love) 4:42
7 Come Fly With Me 4:36
8 Let's Get Away From It All 4:46

Bio :
Songwriter/producer/singer Greg Perry was a key player in Holland-Dozier-Holland's Invictus/Hot Wax Records whose roster included the Honey Cone, Freda Payne, Chairman of the Board, 8th Day, and 100 Proof Aged in Soul. His brother Jeffree Perry recorded "Love's Gonna Last" which became known as "the steppers national anthem", worked at Motown and with Jackie Wilson on his wonderful Beautiful Day album. While in his teens, Perry began his musical career at Chicago-based Chess Records working with legendary producer Billy Davis (the Dells, Fontella Bass). He turned down a publishing deal with Motown, opting instead to sign with Holland-Dozier-Holland's just-opened Invictus/Hot Wax Records. Meeting singer/songwriter General Johnson and lyricist Angelo Bond, the trio began to collaborate on songs, many of which became huge hits. They patterned themselves after the label's owners who were the songwriting/producing force behind much of Motown's classic sides. Most of the recording was done in Detroit at a converted movie theater on Grand River Avenue.

Several of the label's musicians and arrangers went on to have successful careers. Tony Camillo produced Gladys Knight and the Pips' number one R&B/pop gold single, "Midnight Train to Georgia". Guitarist Ray Parker, Jr. had a gold- and platinum-laced career as Raydio and in his own name (the million-selling "Ghostbusters"). Dennis Coffey played guitar on many Motown and Westbound sides and had a million-seller with "Scorpio". McKinley Jackson co-wrote and produced mid-'70s hits ("Fish Aint Bitin") for label co-owner Lamont Dozier on ABC. Bassist Bob Babbitt, keyboardist Sylvester Rivers, percussionists Jack Ashford, and Eddie "Bongo" Brown became A-list L.A. session players. Perry gained notoriety as a recording artist for his 1979 RCA LP, Smokin'.
~Ed Hogan, All Music Guide

Get It Here @ 320 :
RapidShare or SendSpace

Sunday, January 6, 2008

Kim Weston - 1967 - For The First Time

I know a lot of people who seek for this rare album. Her first on MGM.

Duke Ellington describes Kim Weston as a “beautiful ebony-hued satin doll whose generous physical adornments are well distributed”. But as everyone knows it takes more to make it in music business. Kim’s most important assets are a great voice and an ability to get out there and sell any songs she sings.

Well known for her duets with Marvin Gaye, Kim Weston should have been a big star. But Berry Gordy was more interested in promoting some of his other artists and Kim remained under appreciated (and under exposed).she is one of the most talented artist to come out of Detroit.

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

Tracks

A1 - Where Am I going 2.55
A2 - Free Again 4.50
A3 - Everything In The World I love 3.09
A4 - When The Sun Comes Out 2.49
A5 - Walking Happy 2.50
B1- The Beat Goes On 3.13
B2 - In The Dark 3.25
B3 - If You Go Away 3.43
B4 - Come Rain Or Come Shine 2.20
B5 - Come Back To Me 3.01
B6 - That's Life 3.22

Best known as a duet partner of Marvin Gaye, Kim Weston also charted with some of her own solo sides during the '60s, although she never had the breakout success of a Martha Reeves or Diana Ross. Born Agatha Natalie Weston in Detroit in 1939, she started singing in her church choir at age three, and by her teenage years had joined a touring gospel group called the Wright Specials. She signed with Motown during the company's early days, scoring a minor RB hit in 1963 with "Love Me All the Way." The following year, she recorded her first duet with Gaye, "What Good Am I Without You," but made the tactical error of turning down a chance to record "Dancing in the Street," which subsequently became a smash hit for Martha the Vandellas. She enjoyed her biggest solo hit in 1965 with "Take Me in Your Arms (Rock Me a Little While)" and followed it up in 1966 with the equally soulful "Helpless," both of which helped make her reputation among soul collectors. Also in 1966, she cut an entire album of duets with Gaye, Take Two, which produced the Top Five RB classic "It Takes Two." By the time it was peaking on the charts in early 1967, however, Weston had already left Motown; she and her husband, producer William "Mickey" Stevenson, moved to MGM, but a pair of albums there (For the First Time and This Is America) proved to be commercial failures. Weston subsequently recorded for Volt (Kim Kim Kim), People (Big Brass Four Poster, an album of jazz standards with the Hastings Street Jazz Experience), and Johnny Nash's Banyan Tree, all without much success. She did, however, chart with her version of the anthem "Lift Ev'ry Voice and Sing" in 1970. Weston largely disappeared from the music industry during the '70s; in 1987, Weston became the first of many Motown artists to work with British producer Ian Levine on the Motorcity label, re-recording many of her old hits for the Northern soul market; her two albums for Motorcity, 1990's Investigate and 1992's Talking Loud, also featured some new material.

Get Kim here

Kim_Weston_-_1967_-_For_The_First_Time.rar

Saturday, January 5, 2008

V.A. - More Drums On Fire !

V.A. - More Drums On Fire !

Sonny Payne, Benny Barth, Mel Lewis,
Armando Peraza, Ray Mosca
with : Zoot Sims, The Mastersounds, Freddie Gambrell, Russ Freeman

Freddie Gambrell's rhapsodic and percussive introduction to Kenton's perennial theme
"Artistry in Rhythm" gives little indication of the exciting and varied rhythmic sounds to follow in this album. "More Drums on Fire" is the logical successor to World-Pacific's first drum anthology (PFJ -5034) which spotlighted the talents of four of the world's great drummers - Chico Hamilton, Benny Barth, Art Blakey and Chatur Lal.

"Artistry in Rhythm" in fact would have made a good alternative title for this collection, for the performance of the five drummers represented in this set add up to a convincing cross section of contemporary rhythmic artistry.


"Artistry in Rhythm"
featuring Armando Peraza and Ray Mosca

One of the reasons for George Shearing's continued success and acceptance by the music loving public has long been his ability to provide music that his patrons want to hear - music that is intelligent but at the same time challenging and exciting. Anyone who has seen or heard his night club and concert appearances will know that besides George's own obvious talents a large portion of the overwhelming reception the group receives is due to his phenomenal conga drummer, Armando Peraza.

During one of Shearing's frequent engagements at Gene Norman's Crescendo night spot in Hollywood, Armando and Ray Mosca (Shearing's regular drummer) were united with pianist Freddie Gambrell on several of World-Pacific's recording dates. One of the many worthwhile results of this collaboration was an extended workout by Armando and Ray on the evergreen "Artistry in Rhythm." Freddie's pianistic embellishment of the theme gives way to an integrated percussion duet by the two drummers with Armando taking the lion's share of the solo work and clearly demonstrating why be is the supreme artist in his field. The long association of the two drummers in the Shearing combo has enabled them to develop into a unified force which sounds more like ten men than two.


"I'm Going To Like It Here"
featuring Benny Barth

The whole approach of the Mastersounds is based on the concept of swinging. "The first thing is, it must swing," says bassist Monk Montgomery. Every member of the group is a swinger, but a large share of the credit for the group's success must go to Benny Barth for his tasteful and imaginative drumming.

In his three years with the Mastersounds, Benny has gradually achieved his own authoritative voice, molding his early influences into a highly personal style. He acknowledges his indebtedness to inspirations from Krupa, Dave Tough, Jo Jones and Sid Catlett in that order and it is clear that Max Roach too has helped fashion Benny's way of expressing himself. Benny has ample opportunity to develop his solo on this Rodgers and Hammerstein tune from "Flower Drum Song," and his performance here underlines the fact that he is one of the most intelligent drummers in jazz today, combining a steady and relentless beat with an ability to tell a tuneful story and logically develop a theme.


"Triste"
featuring Armando Peraza

In the short time since Freddie Gambrell made his first album (PFJ -5029) critical acclaim has flowed in his direction and subsequent performances by Freddie leave no doubt that a new major talent has arrived. John S. Wilson in the New York Times describes GAMBRELL as a "well grounded imaginative pianist who shows a strong feeling for the blues and develops his ideas with a spare, thoughtful directness, and for a newcomer is remarkably free from strong influences."

These characteristics are indeed evident in his sparkling original composition performed here with an assist by Ben Tucker on bass and with a pulsating, throbbing background laid down by the ever rhythmic Armando Peraza.





"Brushes"
featuring Mel Lewis

"You'll never get another one like that!" says Zoot Sims at the end of this relaxed blues blown by himself and Russ Freeman and featuring Mel Lewis on brushes. It was indeed one of those happy one-take affairs of which A & R men dream every night - a completely satisfying performance spontaneously created.

Zoot was in Los Angeles vacationing and was in particularly fine blowing form on this and other dates for the World-Pacific label. Both Zoot and Russ Freeman contribute superlative solos before Mel takes over on wire brushes with a masterly display of controlled brushwork which, despite the slow tempo, never fails to be interesting and swinging. Mel is one of a handful of drummers who are completely at ease with any size group, for he is as equally capable of being an integral voice in a small unit as be is of swinging a 16 piece big band.


"Clap Hands, Here Comes Charley"
featuring Sonny Payne

The Count Basie bands of the past have been blessed by a succession of incomparable percussionists, from Jo Jones on through Shadow Wilson and Gus Johnson to the explosive Sonny Payne. The Basie band's universal popularity these days takes it to almost all comers of the globe and it was during an engagement in Los Angeles that Sonny's controlled fury was added to this collation. The gifted Sonny, one of the most dynamic and exciting drummers in jazz today, contributes a breathtaking display of drumnastics on the old Basie vehicle "Clap Hands" with Zoot and Russ Freeman supplying the melodic line. A devastating performance which leaves the listener almost as limp as if he were hearing Sonny in person.

~Alan Bates



A Richard Bock Production
Cover design by Armand Acosta
Photos by Richard Bock
Recorded at Sound Enterprises Studios
Hollywood, California
Manufactured by Victor Record Company LTD., Japan
By Agreement with Cosdel, INC.

~@~@~@~

This is a vinyl rip from an original LP. I cleaned up the sound just a little to take the hiss out, but tried very hard not to affect the sound quality. The cover is modified from the original to fit a CD case more readily. The back text is taken directly from the album, in it's entirety. I also included the photos from the back side, and scans of the LP labels. 256 vbr.
I don't think this album should be in obscurity any longer.

Link :
More Drums On Fire !

posted by Gathering_Of_The_Tribe (Anonymous)

Friday, January 4, 2008

Dizzy Gillespie with Lalo Schifrin - 1977 - Free Ride

Although Lalo Schifrin is justifiably praised for his soundtrack work, many jazz purists turn up their noses at his jazz dates, such as his '60s work with Jimmy Smith and Wes Montgomery. The things that make Schifrin an anathema to the diehards -- the huge orchestras, the pop and soul riffs, the general air of over the top theatricality -- are all over 1977's Free Ride, his reunion date with Dizzy Gillespie. (Schifrin had been Gillespie's arranger in the late '50s.)

In fact, Free Ride is so painfully dated that it's transformed into cockeyed cool, just the sort of record ironic hipsters should listen to while they're reading the novelizations of '70s cop shows that they bought for a bundle off of eBay. Gillespie plays with his usual wit and panache, but most of the time, he sounds like a sideman on his own album; the real focus of Schifrin's arrangements is the funky wah-wah guitars and ARP synthesizer solos that take center stage on tracks like "Fire Dance" (which sounds exactly like it should be the theme for a Charlie's Angels spinoff) and the mellow disco of the closing "Last Stroke of Midnight." Occasionally, Gillespie gets to break out on his own album, with the lovely solo on "Love Poem for Donna" his particular standout. For what it is, Free Ride is really quite good (guests include Lee Ritenour and future star Ray Parker, Jr.), but it's very much a record of and for its time.

~Review by Stewart Mason, All Music Guide


Download It Here :
Gillespie___Dizzy_-_1977_-_Free_Ride.rar

Thursday, January 3, 2008

Tribe - 1974 - Ethnic Stew

I wonder how many of you know this record.

It is a forgotten gem of 70's soul-funk.

This is the first edition of the group Tribe that was founded and produced by Big Dee Ervin. The Members from Right to Left are:
Benton Miles Little (Drums & Vocals),Donald D. Eubanks (Percussion & Vocals),Earl J. Foster Jr. (Keyboards & Vocals),Edward H. Romias (Guitar & Vocals),Robert P. Apodaca (Bass & Vocals)

Label: ABC Records
Catalog#: ABCX-807
Format: Vinyl, LP
Country: US
Released: 1974
Genre: Funk / Soul

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

Tracklisting
A1 The World Should Learn To Party Together (2:58)
A2 Lovin' On The Outside (2:42)
A3 Tribe (3:35)
A4 We've Got To Live Together (2:59)
A5 Think People (2:50)
B1 Young Warrior (3:02)
B2 Let Me Into Your Life (2:55)
B3 Siggy Siggy (3:47)
B4 What Am I Gonna Tell My Wife (4:07)

B5 Smoke (Part.1) (2:45)

“My name is Earl Foster, In 1974, I was called by Big Dee Ervin, a staff producer at ABC-Dunhill Records, to play and sing on a track that was actually the fade out of a record that he produced, the fade was jammin' harder than the record.
After I added my touch to the track, Dee named the record, of all things, "Coke" and named the artist "Tribe", I don't know how he came up with these names, except that Dee was a man with a great sense of humor, and if you knew him, you knew that this move was vintage Dee.
Since all of the leads on the track were done by me, I became Tribe by default, talk about being in the right place at the right time! I made Dee promise that if the record did anything, the recording contract was to be mine, and Dee agreed. I continued playing with my group "The Fourth Parallel. About a month later, Dee called me and told me that the record had made the charts, and was climbing fast. You can imagine my shock when a week later I was contacted by Dee, and was told to come in to ABC- Dunhill for a meeting with Otis Smith, who was then, the Vice-President of the R & B division.Can you believe it, me, Earl J. Foster Jr., was signed to a recording contract with ABC-Dunhill Records, on the strength of a song I recorded as a lark, the fade out of a song whose name could be a great trivia question, in fact I don't know the name of the original track. I promptly changed the name of my band from, "The Fourth Parallel", to "Tribe", and we went on to do many concerts, and TV shows, and did quite well, go figure! Because of the controversy the name "Coke" caused, the record was renamed, "Smoke", because it rhymed with coke, and although the record was riding the charts, the confusion caused by the name change doomed the record. The group however, went on to record the album "Ethnic Stew" and the album rode the charts led by the hit single "Tribe".


"Cashbox, Record World, Billboard and the Top Ten British Singles Chart"
Hell, we even had the number one record in Todendorf Germany and Washington DC, how's that for diversity?
The group traveled extensively throughout the United States, Europe and the Far East. After a complete personnel change, the Group recorded another two albums, one for ABC-Dunhill Records, called "Tribal' Bumpin'", and a record called "Dedication"for an Indie Label called Farr Records before finally disbanding. There are a lot of groups out there calling themselves Tribe, but we were the original, the real McCoy, and now, you know.

Get Tribe here
Tribe_-_1974_-_Ethnic_Stew.rar

and leave a comment brothers

Wednesday, January 2, 2008

Herbie Mann - 1969 - Memphis Underground

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews's Quintet (1953-54) and then started working and recording as a leader. During 1954-58 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the 1950s who recorded on bass clarinet; he also recorded in 1957 a full album (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, in 1959 Mann formed his Afro-Jazz Sextet, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby" and recorded with Bill Evans.

The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the 1970s advanced, Mann became much more involved in rock, pop, reggae and even disco. After leaving Atlantic at the end of the 1970s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin and in the 1990s founded the Kokopelli label on which before breaking away in 1996 he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumusly released Beyond Brooklyn for Telarc. review by Scott Yanow AMG

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