Monday, March 31, 2008
So what we have here? Bunny Singler (singer – writer – producer ) with Norman Harris and Instant Funk! These three are enough for such a great record.
You can put the needle on any track and you’ve got the TSOP (The Sound Of Philadelphia) at its exciting best. 7 minutes cover of “Love Train” is wonderful!
This is a fine @320 vinyl rip (not mine this time cause it had a lot of scratches) with original covers. This record never issued on CD.
A1 Shake Your Booty 4:47
A2 Picture Us 2:34
A3 Keep Smilin' 5:55
A4 That's How Long I'll Be Loving You 2:55
A5 I Lied 3:54
B1 Things Are Gonna Get Better 2:55
B2 Sweeter Than the Berry 4:40
B3 Your Love Is Good 2:52
B4 Somebody Free 4:16
B5 Love Train 7:00
Bunny Sigler's Keep Smilin' LP was rush-released to capitalize on the fast-breaking (fast-selling) title track single. Several tracks on Keep Smilin' were first included on That's How Long I'll Be Loving You released earlier that year. The Philly soul singer/songwriter/producer was trying to quickly follow up his Top 30 R&B churchy ballad cover version of The O'Jays gold hit, "Love Train." The difference between the two albums is the outstanding two tracks that feature Instant Funk:"Keep Smilin',,""Sweeter Than the Berry." Co-written by Sigler and Allan Felder,the pumpin' "Keep Smilin'," is one of Sigler's best.) Sigler later produced a cover of the tune on guitarist Gabor Szabo for his Szabo's excellent 1976 Mercury LP, Nightflight with that version becoming a steppers classic. The bluesy "Sweeter Than the Berry," has punching horns and a nassty break that features Sigler, bassist Raymond Earl and the late-night wailing sax of Sam Peake. Another single, the thumpin', brassy, fun-filled "Shake Your Booty," was starting to gain interest before it was quelled by protest over its title. Oddly, no such protest was waged against the similarly titled "Shake Your Booty." Norman Harris with Sigler produced " I lied" and "Your Love Is Good" with the music by MFSB.
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Friday, March 28, 2008
This is a @320 vinyl rip of my original Buddah record with covers.
A1. Castles 7.52
A2. ( Love Lives On A) Windy Hill 4.29
A3. Don't Close The Book 3.03
A4. Super Love 2.44
B1. I Had A Dream 6.52
B2. Every Man Is God 5.40
B3. Do Unto Others 3.05
B4. Love Will Be Around Forever 3.50
B5. Ninety Days ( In The House Of Love Correction) 3.04
The first LP issued by The Futures a fine Philly vocal quintet who'd recorded a number of singles earlier in the 70s, but who finally cracked the LP racks with this 1975 release! The group's got harmony chops that are plenty strong -- with an ability to hit both a sweet soul sound and a deeper righteous groove that was being used by some of the funkier groups at the time. This album's not the group's strongest, but it's got more than enough great moments -- thanks to some sweet arrangements by David Van DePitte and Wade Marcus, who give the group a sound that's sort of a 70s extension of the Motown sound of the end of the 60s. There's some pretty catchy numbers on the album like "Do Unto Others", "Ninety Days (In The House Of Love Correction", and "Super Love" and the album begins with a nice stretched-out groover called "Castles".
It's a mystery why Buddah would released this album and not promote it; they didn't issue but one single from the LP. Seven of the eight songs are Reginald Turner, Victor Drayton, John Bellmon, and Jerry Akines compositions, the talented Philadelphia singers and songwriters who penned "Don't Let the Green Grass Fool You," a hit for Wilson Pickett and the Spinners. They also recorded themselves under various names including the Formations, the Corner Boys, and Frightened Majority. Barbara Mason penned the other song, a funky jam entitled "Ninety Days (In the House of Love Correction)." There are some good songs including "Super Love," "(Love Lives on A) Windy Hill," and "Don't Close the Book." "Castles," in June of 1975, was the only single issued. A good catch if you can find a copy.
Formed 1968 one of Philadelphia's finest groups,The Futures made a poor career move when Gamble Records ended up by signing with Buddah Records, thus missing a golden opportunity to join Philadelphia International Records.
Their first Buddah release '(That's) The Way Of A Woman In Love' b/w 'Grade A Woman,' was released in January 1974.The second single 'No One Could Compare' b/w 'You Better Be Careful' was released shortly afterwards.
Without the major label support that Philadelphia had to offer bands like the O'Jays, and Harold Melvin & the Bluenotes & the Stylistics, the band failed to reap the benefits of their productions.
Buddah released the Futures third single 'Castles' June 1975, which continued the string of under achievments. They issued the Futures' first album 'Castles In The Sky', in 1975 which didn't include the first two singles. Its promotion was almost non existent. Barbara Mason wrote their final Buddah single 'We Got Love,' prompting a poorly promoted tour with Philly's First Lady of Soul.
Finally, they reunited with Gamble & Huff in 1978 at Philadelphia International Records, but the company's glory days were over.The first release 'Part Time Party Time Man,' was their most successful single. Its 'rare groove' successor 'Ain't No Time For Nothing,' was succeeded by three more singles including 'Mr. Bojangles. 'Philadelphia International released two albums by the Futures, 'Past, Present & The Futures', and the obscure 'The Greetings Of Peace'.
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Thursday, March 27, 2008
(Bloodleaf Records, OTE 105 - 1978)
THIS RECORD IS ON A PRIVATE LABEL FROM OAKLAND USA
Lovely and groovy jazz vocal LP by a California all-female jazz group.
Record was distributed by Olivia, so I’m guessing this is a Lesbian
ensemble… Sought after among Brazilian buffs for their fantastic cover of
“Terra” by Marcos Valle. The entire thing is strong and there are a couple
of real floor-fillers.
Should appeal to fans of Alive, Linda Tillery, The Dance of the Universe
Orchestra, Carl & Joanne Barry, Feather, Judy Roberts, Sheila Landis, Cavril
1 Charlotte's Web
2 Sweet Beginnings
4 Too Cool To Be True
5 Monogamy - Shbedogamy
7 A Little Bit Of Something Special
8 Old Woman
10 Rise Again
In the photo above the members of Baba Yaga are, left to right, Patti
Vincent, Jan Cornall, Kiera O'Hara, Bonnie Kovaleff, Susan Colson and
Barbara J. Galloway
Wednesday, March 26, 2008
This is a @320 vinyl rip of my original Atlantic record with covers.
A1 Don't Send Nobody Else 5:00
A2 Don't Let Me Be Lonely Tonight 4:22
A3 If You Were There 4:00
A4 Moving On 4:19
B1 Pickup 3:02
B2 Me and My Love 3:31
B3 Easy 3:58
B4 I Don't want to Play Around 7:33
A tremendous debut from Ace Spectrum -- a harmony quartet who never cracked the charts as much as some of their east coast contemporaries, but who were every bit as great as the bigger names on the east coast scene! The album's got a soaring sound that's strongly influenced by Philly, but recorded in New York -- a warmly compressed style that's professional and focused, and beautifully put together with arrangements from Bert DeCoteaux and production by the team of Tony Silvester and Ed Zant. We love the group the best on the mellower cuts -- which have a quality that's deeply personal amidst the smoothness -- but even the more upbeat tracks are plenty darn great too!
The quartet's first and most popular of three Atlantic Records albums. It contains their only hit, Don't Send Nobody Else (also recorded by the Dynamic Superiors) and a first-rate rendition of Don't Let Me Be Lonely Tonight, along with the perky If You Were There. Group members Aubrey Johnson and Henry Zant collaborated on Pickup, Me and My Love, and I Don't Want to Play Around. Atlantic did the album a disservice by only rolling out one single before flinging a second album out. However, the group's revolving-door membership may have been the underlying reason. Ace Spectrum's -- whose personnel changed every album -- signature was variety; they employed multiple leads, which kept listening interesting.
Monday, March 24, 2008
A mix of funky tracks, ballads and grooves.
A funky group with great albums in the 70’s but stayed unknown.
This is a @320 vinyl rip of my original Gold Plate record with covers.
B1. Michigan Avenue 5.15
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Friday, March 21, 2008
2. Stop Thief 2.37
3. I Take it To My Baby 2.55
4. I Want to Be Your Baby 2.14
5. Something Good (Is Going to Happen to You) 2.30
6. When Tomorrow Comes 2.30
7. I'll Always Have Faith In You 2.52
8. All I See Is You 3.30
9. Unchanging Love 2.45
10. Give Me Enough (To Keep Me Going) 2.27
11. Lie To Keep Me From Crying 2.25
Tuesday, March 18, 2008
This is a @320 vinyl rip of my original Cotillion Record with covers.
A2 Lost In Music (4:42)
A3 Somebody Loves Me (4:48)
A4 Thinking Of You (4:20)
B1 We Are Family (8:06)
B2 Easier To Love (4:55)
B3 You're A Friend To Me (5:20)
B4 One More Time (3:07)
The sisters were given quality songs, with the music placed within a pristine setting courtesy of the core chic threesome, as well as dazzling horn players such us as trumpeter Jon Faddis and saxophonist/flautist Alex Foster and backing vocals by Luther Vandross and Chic singers Norma Jean Wright. The Result? Elegant, string-laden masterpieces such as “He’s The Greatest Dancer” and the euphoric “Lost In Music” that stand alongside Chic’s own work as perhaps the pinnacle of the disco area. Oh, and multi platinum sales (from the book - 1001 albums you must hear before you die)
Saturday, March 15, 2008
A2 Let Me Be The One (5:11)
A3 Only You (3:20)
A4 Can'T Turn You Loose (4:14)
B1 Sassafras Girl (6:46)
B2 Tune In (6:37)
B3 Dance To The Music (4:50)
B4 Selim (3:48)
Pleasure couldn't have asked for a more appropriate producer when, in late 1976, it employed Wayne Henderson on Joyous. A band that frequently brought jazz overtones to its funk-soul foundation, Pleasure needed someone who held jazz and R&B in equally high regard — and Henderson easily fit that description. The Texas trombonist first made a name for himself playing hard bop with the Jazz Crusaders, but as the 1970s progressed, he became increasingly R&B-friendly. Henderson was exactly the sort of producer that Pleasure needed, and the band's appreciation of jazz comes through on the up-tempo funk numbers (which include "Dance to the Music," "Let Me Be the One," and the title song) as well as the dreamy quiet storm gem "Sassafras Girl." Pleasure brings this vinyl LP to an appealing close with a jazz-funk instrumental titled "Selim," which isn't typical of Joyous on the whole — most of the tunes are vocal-oriented. This is a funk-soul record first and foremost, and it is also a classic that underscores Pleasure's risk-taking nature.
70s Funk-Soul with Jazz overtones, that was Pleasure. Joyous was an achievement even for Pleasure; that's saying something because the LPs before and after it were anything but dull. "Crusader" Wayne Henderson decided to produce this LP, and it turned out to be an excellent idea; Joyous contains some great songs: there is the title song which lives up to its title (we danced whenever the song was played in the clubs), and there's Sassafras Girl, for me, the best song Pleasure ever recorded, complete with good solos (among others, Wayne Henderson playing his trombone), structure and arrangement.
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Thursday, March 13, 2008
A2 It Doesn't Have To Be That Way 7.40
A3 Rain 6.39
B1 Try It, You'll Like It 2.53
B2 I Can't Believe You're Gone 3.00
B3 Livin' High Off The Goodness Of Your Love 4.02
B4 When Love Was A Child 3.44
B5 Well Worth Waiting For Your Love 3.31
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Tuesday, March 11, 2008
As Nikos said it's very important for us (and had nothing to do with our ego as some friends thought). It's have to do with communication !
We didn't start this blog(s) because we want to "show" you that we know a lot of things about music. (Actually many of you know more than us --and we learn from you, and online resources--). We start this because we didn't want anymore to deal with anonymous p2p file sharing programs.
I'm also "guilty" as you, 'cause we let you feel that way...
We didn't mean something like that. The previous post it was only for let you know that we need you here ! To tell your opinion when it's possible, and share your knowledge or/and feelings about the music. No "thanks" are necessary...but if that's all that you can say it's welcome too !
Once again thank you for your participation and be there !
A1 I Feel A Song (In My Heart) (3:10)
A2 Love Finds Its Own Way (3:47)
A3 Seconds (3:49)
A4 The Going Ups And The Coming Downs (3:27)
A5 The Way We Were (4:32)
B1 Better You Go Your Way (3:58)
B2 Don't Burn Down The Bridge (4:34)
B3 The Need To Be (4:05)
B4 Tenderness Is His Way (2:55)
Here is another beautiful work of Gladys Knight and The Pips to Buddah Records! "I Feel A Song (In My Heart Again)" was a hit in 1975. This album clearly shows the art of Gladys Knight in each song and it could be a good mirror for many female singers of today that think that to sing "soulfully" a song is just to shout hysterically without meaning or feeling. In "I Feel A Song", Gladys is angry and secure, in "The Way We Were" is reflective, in "Better You Go Your Way", happy, in "The Need To Be" (one of her best performances) is pungent, in "Tenderness Is His Way" (another great performance) romantic, distant, in another world... A LP to hear from the beginning 'till the end!
~By Marcos B. Santos (Rio de Janeiro, Brazil)
I think that every Gladys Knight Fan should have this album in their collection. It's definitely one of their best, and each and every song is well chosen. It's not often that you purchase a disc with every track a winner, but this is one of them...
~By Joanne Elliott "Joell, Music Lover" (Sydney,NSW, Australia)
From the serrated edge soul shouting of the title cut, to the assured legato of "The Way We Were", Knight demonstrates her fine way with a song. There is the country-tinged r&b of "Don't Burn Down The Bridges", produced by the group. "Seconds", co-written and produced by Burt Bachrach. The song is from a stage production and its arrangement and vocal interpretation evoke the theater. Jim Weatherly's "The Need To Be" is one of Knight's personal favorites. Her performance captures the inward reflection of the song's lyric with pain and grace. Bill Withers offer perhaps the counterpart to "Neither One Of Us" with the track he penned, "Better You Go Your Way." He and Knight trade vocals on this up-tempo tale of partners who are ready to say goodbye. This release is a fine example of what made Gladys Knight & The Pips one of the biggest groups of the early 70s.
Gladys Knight & The Pips
Gladys Knight (b. 28 May 1944, Atlanta, Georgia, USA), her brother Merald "Bubba" (b. 4 September 1942, Atlanta, Georgia, USA), sister Brenda and cousins Elenor Guest and William Guest (b. 2 June 1941, Atlanta, Georgia, USA) formed their first vocal group in their native Atlanta in 1952. Calling themselves the Pips, the youngsters sang supper-club material in the week, and gospel music on Sundays.
They first recorded for Brunswick Records in 1958, with another cousin of the Knights, Edward Patten (b. 2 August 1939), and Langston George making changes to the group line-up the following year when Brenda and Elenor left to get married. Three years elapsed before their next sessions, which produced a version of Johnny Otis' "Every Beat Of My Heart" for the small Huntom label. This song, which highlighted Knight's bluesy, compelling vocal style, was leased to Vee Jay Records when it began attracting national attention, and went on to top the US R&B charts.
By this time, the group, now credited as Gladys Knight And The Pips, had signed a long-term contract with Fury Records, where they issued a re-recording of "Every Beat Of My Heart" which competed for sales with the original release. Subsequent singles such as "Letter Full Of Tears" and "Operator" sealed the group's R&B credentials, but a switch to the Maxx label in 1964 - where they worked with producer Van McCoy - brought their run of successes to a halt. Langston George retired from the group in the early 60s, leaving the line-up that survived into the 80s.
In 1966, Gladys Knight and the Pips were signed to Motown Records' Soul subsidiary, where they were teamed up with producer/songwriter Norman Whitfield. Knight's tough vocals left them slightly out of the Motown mainstream, and throughout their stay with the label the group were regarded as a second-string act. In 1967, they had a major hit single with the original release of "I Heard It Through The Grapevine", an uncompromisingly tough performance of a song that became a Motown standard in the hands of its author Marvin Gaye in 1969. "The Nitty Gritty" (1968) and "Friendship Train" (1969) proved equally successful, while the poignant "If I Were Your Woman" was one of the label's biggest-selling releases of 1970.
In the early 70s, the group slowly moved away from their original blues-influenced sound towards a more middle-of-the-road harmony blend. Their new approach brought them success in 1972 with "Neither One Of Us (Wants To Be The First To Say Goodbye)". Later that year, Knight and The Pips elected to leave Motown for Buddah Records, unhappy at the label's shift of operations from Detroit to Hollywood. At Buddah, the group found immediate success with the US chart-topper "Midnight Train To Georgia", an arresting soul ballad, while major hits such as "I've Got To Use My Imagination" and "The Best Thing That Ever Happened To Me" mined a similar vein.
In 1974, they performed Curtis Mayfield's soundtrack songs for the film Claudine; the following year, the title track of I Feel A Song gave them another soul number 1. Their smoother approach was epitomized by the medley of "The Way We Were/Try To Remember" which was the centrepiece of Second Anniversary in 1975 - the same year that saw Gladys and the group host their own US television series. Gladys made her acting debut in Pipedream in 1976, for which the group recorded a soundtrack album.
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Friday, March 7, 2008
But there’s no proportional response in comments section.
15 – 20 comments (all day in all posts) is low when we have 2000 visitors everyday in the blog and grub these rare vinyl(s).
If only some of you leave a reply in every 3-4 posts, then our communication will be great. I know maybe you do not have to say something new or clever but to us is very important to feel that you are there and give us a credit for our work.
You all know it takes a lot of time to rip a vinyl and find information especially for such rare vinyls. I recently spent 5 hours for Barbara Jean English to find a few words.
For the next period we have more amazing artists most of them never released on cd and we expect you to show us how much you appreciate what we do.
We also want to know your opinion about the above, brothers.
I would like to place a text from my music brothers 4brothers beats, which express my feelings and i totally agree.
"I have been wrestling for some time over an issue that has caused the privatization (and sometimes complete shutdown) of dozens of blogs across the blogosphere. We have all seen it before and I'm sure that many of you have strong opinions about it. The issue is silent downloading, also known as silent leeching. Now for the record, let me say that this is my personal opinion and does not necessarily reflect the views of 4BB as a whole. So whatever is decided here will only affect my posts and no one else's, unless they choose to implement the idea. Nor do my observations apply to the readers who participate, contribute personal rips and show general appreciation on a regular basis. You guys are what family is about and I thank you! However, this decision will affect you so please submit your input.
Now I'm sure that many of you are rolling your eyes or bracing yourselves for a long speech. But after much thought, I have decided to try and address this a different way. Instead of going all "ninja" on folks, I am going to embrace the general spirit of the blog and see if we can work this out together. But first let me briefly explain the issue for those not sure of what I'm talking about.
It's quite simple really. Bloggers work hard to post music. Whether the rip is original or was acquired from some other source, we still go through the trouble of putting together an educational post, fight computer malfunctions and crashes, fret about the quality of the rip, and struggle with the hosting sites that delete the links that it may have taken hours to put together. No, it's not brain surgery, but it is work. The contributers have lives, jobs and families outside of this blog, but we do this because we love music and we get inspired by your love of music. So it really is a drag when I look and see that there were 303 downloads of the Sweet Sensations album, but only 7 comments (with maybe 5 or 6 more in c-box). And I'm not even counting the downloads on JazzyPier's link of the same album. In the time that it takes to download a link, one could leave a pleasant comment. (By the way, promoting your website by posting your link in the c-box or just asking for a post or re-up does not count.) The thing is, I'm guessing that you say thank you when you get a free sample of frozen yogurt at the mall. Hmm.
So I am turning to you for a solution, folks. I will weigh the advice and pick the best idea. If only one person responds with a valid idea, I will implement it. If no one says anything, then I will go with my own plan. Feel free to post any objections but make them civil. Any nasty, anonymous comments will be deleted immediately. This isn't a war, so please come with a peaceable spirit. Let's get together on this. Thanks. (Originally posted 2/15/08) "
So brothers, how do you feel about it?
Thursday, March 6, 2008
This is a @320 vinyl rip of my original Casablanca record with covers
A1 Still Feels Good (4:14)
A2 Post Mortem (4:17)
A3 Smile (3:48)
A4 Funk Funk (4:44)
B1 Find My Way (3:23)
B2 Rigor Mortis (5:18)
B3 Good Times (4:59)
B4 Stay By My Side (4:23)
This Cameo debut was to me the best work they as a group have ever recorded. Just as equal to me as any P Funk albums. Back in the day I had never heard of Cameo until I bought this mix tape(8 track) from the record shop, which had 3 Cameo cuts on it Funk Funk, Rigor Mortis and Post Mortem(classics material baby) After copping the vinyl I could tell that they were not a one hit wonder They set a standard that is not defined by radio program directors who refused to play them.(Thanks club Dj's) Smile and Find My Way(later remixed) show that these guys can bring the noise and rock a slow jam.
I don't think it can be stated enough that for fans of the mid 1980's Word Up! period are in for a huge shock with 'Cardiac Arrest', the band's debut presenting a 13 member line up(including a horn section) that play hardcore 70's funk. The emphasis in this period of Cameo's career is on the rhythm section with electronics pushed to the wayside as is typical of most funk bands in the mid 70's. And there's plenty of that here with "Still Feels Good","Good Times" and the stomping "Post Mortem". There are two undisputable funk classics here-the hit "Rigor Mortis" (which we all pretty much know) and "Funk Funk"-the undeniable Star Trek parody which, because of its rapped lyrics and crazy rhythm bought up the P-Funk comparisons. And this album also contains two great ballads in "Smile" and "Stay By My Side", especially since Cameo were obviously not trying for ballads. This was the sound that Cameo would progress and evolve from in the next decade. A more individual style would later developed but Cameo already stood up even from the beginning.
In 1977, one of funk's most promising debuts came from Cameo, whose first album, Cardiac Arrest, made it crystal clear that Larry Blackmon's outfit was a force to be reckoned with. If you were into hard, tough funk in 1977, it was impossible not to be excited by Cameo's debut. This excellent LP contains a romantic soul ballad ("Stay By My Side") as well as the original version of "Find My Way," which is the sort of smooth yet funky disco-soul that groups like the Trammps and Double Exposure were known for in the late '70s. But for the most part, this is an album of aggressive, unapologetically gritty funk. On classics like "Rigor Mortis," "Funk, Funk," and "Post Mortem," one can pinpoint Cameo's influences — namely, Parliament/Funkadelic, the Ohio Players, and the Bar-Kays. But at the same time, these gems demonstrate that even in 1977, Cameo had a recognizable sound of its own. And ultimately, Cameo would become quite influential itself. For funk lovers, Cardiac Arrest is essential listening.
Monday, March 3, 2008
Finally my lucky day came a few days ago.
One of the few soul LP's at this disco label and seldom seen.
A quality soul LP with harmony vocals, great arrangements, produced by the great David Porter.
One of the albums I always come back and enjoy.
This is a @320 vinyl rip of my original Prelude record with covers.
Silk was comprised of ex-Independents (Leaving Me) Maurice Jackson and Aaron Eric Thomas, along with Arthur Reid. David Porter (Isaac Hayes old collaborator Soul Man) produced the LP in Jackson, MS, at Tommy Couchs renowned Malaco Studios with mostly Memphis musicians. Except for Porters Southern jerker "Aint No Need of Crying", Silk members wrote all the tunes, including jewel-case gems "I Know I Didnt Do You Wrong", which is sweet, gutty, and sincere, and "Let Him Go", which is lilting and passion-filled. And listeners wont skip past the LPs best dancer, "Give Yourself to Me", or the uplifting "Live While You Can".
It is a great record by a great group.
The '70s R&B trio Silk was one of the many groups to arrive from that genre in the wake of classic Motown and during the heyday of their native Philadelphia scene. The group was never as famous as most of their contemporaries, but they still managed to release two albums before they disbanded in the late '70s, 1977's Smooth as Silk and 1977's Silk.
Saturday, March 1, 2008
01 - Make You Believe I Love You. 3:06
02 - Why Don't You Send Me. 3:39
03 - Movie Star. 3:54
04 - Beautiful. 3:50
05 - So Fine. 2:51
06 - Tell Me Do You Believe. 4:17
07 - Morning Rainbow. 2:43
08 - Send Me A Letter. 3:43
09 - You're A Lady. 3:28
10 - I Didn't Know. 4:08
11 - Fool. 2:24
12 - Are You Gonna Sock It To Me. 2:48
13 - Rainy Day. 3:45
14 - It's All Over. 3:34
192k @ [Sendspace]
With the line-up stripped down to a foursome,
Ballin'jack knew that their appeal was always their live energy.
So when it was time to make another album, they decided to do it live.
Side one of this 1974 Mercury LP featured all new material not yet recorded prior to this memorable performance.
A1 Runaway People 5:00
A2 Tycoon Bufoon 4:34
A3 If You Don't Like My Music 3:37
A4 Peace and Harmony 5:31
B1 Two Years (prelude) 1:50
B2 Big Dealer 3:52
B3 Special Pride 8:53
B4 Hold On 8:40
Ron Hammon (Drums, Percussion)
Luther Rabb (Bass, Lead Vocals)
Jim Coile (Sax, Flute)
Glenn Thomas (Guitar)
King Erisson (Congas)
Ballin'jack had released three studio and one live album before disbanding in 1974. Luther & Ronnie worked on solo projects and other music ventures as a bass and drum team and both had a long running gig as members of the War (The Music Band).
source : www.dancingmonica.com
Vinyl Rip @320 :
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