Wednesday, April 16, 2008
This way we will go on - together.
A big thank you and we're waiting for more invitations.
P.S. A note for our friends who send invitations: if you don't want to give us administrator permission, please take a look at the posts. There will be a draft post in there with instructions for the layout (the background should be rather dark) and the number of posts per page (it should be 1 only). Thank you.
A classic album from Etta recorded at Muscle Shoals, with deep soul backing that's different than that used on many of her Chicago-recorded albums of the 60s! Etta's back in hard-belting R&B-tinged territory here a bit more sophisticated than the 50s, with a good mix of hard soul numbers and ballads, opening up in some southern territory that really suits her well.
This is one of the greatest soul albums ever recorded, and is certainly among etta james' best work.This is a @320 vinyl rip of my original Cader record with covers.
A1 Tell Mama (2:20)
A2 I'd Rather Go Blind (2:33)
A3 Watch Dog (2:06)
A4 Love Of My Man (2:37)
A5 I'm Gonna Take What He's Got (2:32)
A6 The Same Rope (2:39)
B1 Security (2:44)
B2 Steal Away (2:19)
B3 My Mother In Law (2:20)
B4 Don't Lose Your Good Thing (2:26)
B5 It Hurts Me So Much (2:34)
B6 Just A Little Bit (2:11)
California singer, then plagued with personal demons, went to record her best 1960s Southern soul outpost Fame Studios in Muscle Shoals, Alabama, was where the work. Accompanied by the same house bluesmen who'd roweled Aretha Franklin just months earlier, James unleashes "Tell Mama" (a Top Forty hit in 1967), "I'd Rather Go Blind" (her magnum opus), and ten pearls of slightly lower luster. Her vocals throughout are paragons of female virility.
The ever-vivacious Etta James is one of R&B's true greats, an artist whose work will always stand the test of time and this album, originally released in 1968, is one of her best-known and most powerful. More dynamic than expressive, James was a gal who clearly knew how to rock, capable of the same sort of expansiveness as Jimmy Rushing or even jump blues shouters such as Wynonie Harris, but also with a touch of the sleekness seen in Dinah Washington and Ella Fitzgerald. The "Tell Mama" album is a flawless, timeless crowd pleaser, packed with upbeat, compact material, a tailormade showcase for James' mousy snarl. Backed by the best of the Muscle Shoals crew, this is music that can't easily be faulted;
More soul than blues, Etta James' "Tell Mama" originally came out in 1968 as a twelve-track LP. The sound is terrific, clear and realistic, as is the production by Rick Hall. And those who feel that Etta James' Chess recordings featured too many violins and not enough power need to pick up "Tell Mama" right away!
The original album was top-notch in its own right, featuring the all-time classic soul ballad "I'd Rather Go Blind", excellent covers of Ed Townsend's "I'm Gonna Take What He's Got", Otis Redding's "Security" and Jimmy Hughes' "Don't Lose Your Good Thing", and a couple of driving up-tempo numbers, most notably Don Covay's "Watch Dog" and the magnificent title track.
Etta James never sounded better than during these four 1967-1968 sessions, and the various musicians never set a foot (or a finger) wrong.
There really isn't a single weak track among the twelve songs originally issued. Even practically unknown songs like the swaggering soul stomper "My Mother In Law" and the slow "It Hurts Me So Much", which have never been covered by anyone and don't appear on any of Etta James' compilation albums, are highly enjoyable, and Etta's rendition of "Just A Little Bit" (AKA "I Just Want A Little Bit") is a supremely funky slice of soul-blues.
Having already been an established leading soul singer for 13 years and having 18 R&B hits to her name, in 1967 Etta went to record in Alabama at the legendary Muscle Shoals studio. The result was her most accomplished album, on which her voice had been mixed to perfection, allowing her to sound strong on the previously distorted high notes. James was rightly seen in a different light as one of the great soul voices of all time as she belted out powerful tracks such as "The Love Of My Man" and "Watch Dog." Her slower numbers were equally arresting, including the wonderful "I'd Rather Go Blind."
Get the lady here
Monday, April 14, 2008
Sunday, April 13, 2008
We tried all this time not to post "copyrighted" material in all of the LiT pages...but it seems that wasn't enough...There is someone who don't want us in blogland. I don't know who or why? but I know that he choose the wrong way.
We will not give up !!!
We will start posting in a new address (http://lostintymem.blogspot.com/)
We have back-up all the posts from the main page....but for the first days we will not restore the posts...but we will start with new posts.
Stay here !!! More Soon !!!
Saturday, April 12, 2008
We'd like to inform you that we've received another complaint regarding your blog lost-in-tyme.blogspot.com. Upon review of your account, we've noted that your blog has repeatedly violated Blogger's Terms of Service (http://www.blogger.com/terms.g). Given that we've provided you with several warnings of these violations and advised you of our policy towards repeat infringers, we've been forced to remove your blog and terminate your Blogger account.
Thank you for your understanding.
The Blogger Team
Wednesday, April 9, 2008
Monday, April 7, 2008
Heavy deep soul from Bettye Swann - a great female soul singer from the 60s.
This is a @320 vinyl rip of my original Collectables Lp with Covers.
In 1964 she started a solo singing career, as Bettye Swann, at the prompting of local DJ Al Scott, who became her manager. After a minor hit with the self-penned "Don’t Wait Too Long," her big breakthrough came with "Make Me Yours," which topped the Billboard R&B charts in July 1967, and also made #21 on the Billboard Hot 100. In 1968 she split with Scott, moved to Georgia, won a new contract with Capitol Records and had another hit with "Don’t Touch Me" (#14 R&B, #38 Hot 100).
In 1972 she transferred to Atlantic Records, and had a couple of minor hits with "Victim of a Foolish Heart" (later revived by Joss Stone), and Merle Haggard’s "Today I Started Loving You Again." She continued to record until the mid 1970s, but with little commercial success. Her last public performance as Bettye Swann was in 1980, the year her husband and manager, George Barton, died.
1967: Make Me Yours (Money)
1968: The Soul View Now (Capitol) - R&B #48
1969: Don't You Ever Get Tired of Hurting Me (Capitol)
2001: The Money Recordings (Kent)
2004: Bettye Swann (Astralwerks/Honest Jons)
You can also have her 1969 "Don't You Ever Tired Of Hurting Me" here
1965: "Don't Wait Too Long" - R&B #27
1967: "Fall In Love With Me" - US #67, R&B #36
1967: "Make Me Yours" - US #21, R&B #1
1969: "Don't Touch Me" - US #38, R&B #14
1972: "Victim Of A Foolish Heart" - US #63, R&B #16
1973: "Today I Started Loving You Again" - US #46
Get it here
Saturday, April 5, 2008
Thursday, April 3, 2008
He is noted for his distinctive falsetto singing style and was one of the lead singers of the Motown singing group The Temptations during the 1960s and early 1970s.
Simply amazing album.
This is a @320 vinyl rip of my original Motown record with covers.
A1 If You Let Me (3:10)
A2 Let Me Run Into Your Lonely Heart (2:59)
A3 Day By Day (3:07)
A4 Girl You Need A Change Of Mind (7:30)
A5 Someday We'll Have A Better World (3:35)
B1 My People... Hold On (5:40)
B2 Date With The Rain (2:42)
B3 Eddie's Love (3:20)
B4 I'm On The Sideline (2:56)
B5 Just Memories (5:50)
If you were ever to buy an Eddie Kendricks album, THIS would be the one to get. It’s by far his greatest work. There’s some easy going Soul numbers like If You Let Me, Day By Day, Eddie’s Love, I’m On The Sideline with their catchy, sing along lyrics. Those compare with the more upbeat Let Me Run Into Your Lonely Heart with its funky guitar line that has a strong Sly Stone influence to it. Of course, the most well known track might be the expansive Girl You Need A Change Of Mind that has lyrics for the first half, and then just turns into a jam session. I always thought the lyrics were really interesting as well because it seems to be a reply to the Feminist movement that they shouldn’t overlook racism and civil rights and not discriminate against all men. He even gets a little experimental with the heavy percussion and group chorus of My People … Hold On that’s tempered by Kendricks’ sweet singing. He finishes off with Just Memories with its dramatic horn intro before going into a ballad. In the fact the remaining tunes, Someday We’ll Have A Better World and Date With The Rain are also good making this an excellent record from beginning to end.
For his second outing People … Hold On (1972), former Temptations leader Eddie Kendricks expanded his horizons, dabbling with communally conscious soul and making initial forays into dance music that would predate disco. As he had done for Kendricks solo debut All By Myself (1971), producer Frank Wilson contributes several tunes. Among them is "If You Let Me" that kicks off the disc with a bright groove, custom made for the vocalists' sanguine lead. Things get downright funky on the sanctified "Let Me Run Into Your Lonely Heart". The mercurial beat is bathed in distortion and wah-wah guitar that trades back and forth with a syncopated clavinet. All the while, Kendricks shows off his range-free tenor as he effortlessly vacillates in and out of his trademark overdrive falsetto. The sacred influence of "Day By Day" is underscored by some stellar keyboard with organ and piano runs that could just as easily have been heard in a Sunday morning prayer meeting.
The nearly eight-minute "Girl You Need A Change Of Mind" is nothing short of an epic precursor to the extended four-on-the-floor numbers that would soon be christened as 'disco'. In addition to providing an above average R&B groove, Kendricks' new band — the Washington D.C.-based Young Senators — are joined by the unmistakable touch of Eddie "Bongo" Brown's rhythmically limber congas. The record buying and radio listening public obviously agreed as the song was edited and issued on a 45 rpm that made it to the Top 15 R&B Singles survey.
Returning to the project's thematic motif "Someday We'll Have A Better World" is a mid-tempo optimistic number with a plea for a more peaceful co-existence. The project's title composition "My People … Hold On" is stunning on a completely different level as the artist reconnects with his musical heritage with a languid and methodical bed over which Kendricks raps, practically begging for sanity within the socially troubled African American community.
Get it here