Toffee Soul

Lost-In-Tyme

2008-12-31T23:59:00.000-08:00

Lost-In-Tyme (Main Page) : Psych - Acid - Folk - Garage.....
Lost-In-Tyme : Prog - Kraut - Classic Rock - Blues.....
Lost-In-Tyme : Alternative - Punk - New Wave.....
Lost-In-Tyme : Funk - Soul - Jazz - World.....
Lost-In-Tyme : Index/Archives Page....

Announcement :
From now on, Lost-In-Tyme will be devided into 4 different blogs depending on genre.
All new albums will be posted to the related Lost-In-Tyme blog.
We hope that you will find our effort interesting and worthy enough.

Enjoy !!!
(And Leave Comments)

April 2008

2008-04-23T11:42:00.000-07:00

Wednesday, April 16, 2008

It's all about peace, love and sharing (and fighting if needed) - The 100 Mirrors project

Three months ago, we got warnings from Blogger and we decided to hide the blog(s) for a while. After a short break, we went back in business. Apparently, this made some people unhappy, and, although our posts were very carefully selected (and some of them were in fact donated by the artists themselves), these people continued to sent complaints to Blogger. The result was that Blogger deleted the Lost In Tyme main page (or garage/psych/folk etc).

We will continue. The music posted there is too rare and too good to let it vanish. Anyone, who has visited Lost In Tyme more than once, knows that our only motive is our love for music. We are not seeking money or fame or anything else (except for a comment now and then). We just want to let the music we love be heard from more and more people.

We had many messages from our visitors/friends: it is clear that you also want Lost In Tyme to continue.

To keep Lost in Tyme alive, we need your help, now.

You don't have to do much: all we're asking from you is to make a google account (if you don't have one) and to create a blog - don't worry it's the most easy thing to do: just chose a name and an url and that's it!. Then you'll have to invite one of us (Rainy Day Sponge's e-mail: R.D.Sponge@gmail.com or Lost In Tyme's e-mail: Lost-In-Tyme@hotmail.com) to contribute in your blog and after your invitation is accepted, to give him administrator rights (so he could post and fix the layout of the blog). That's all! A few hours later the blog you created would be an exact mirror of the Lost In Tyme blog, containing all the posts of Lost In Tyme from its very start till 3.31.2008.

Note that you don't have to do nothing more - it doesn't need maintenance, and the comments will be deactivated. Just create the blog, let us post the LiT archive and leave it be.

We call this the 100 Mirrors project. What we have in mind is this: If we have 100 mirror blogs, nobody would think about delete anything.

We will post the links of the mirror blogs here, so anyone who's looking for something posted in Lost In Tyme, would easily find it.

This way the music posted in LiT will continue to be available.

This way we will go on - together.

Lost-In-Tyme team.

Edit - several hours later

We already have 11 mirrors up and running! More are on the way! You can see them at the sidebar on the right, under the title 100 Mirrors. We will update the list, as more blogs are ready.
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.

100 Mirrors continues

Seems there were some problems opening/viewing the mirrors, due to the huge posts. We're working on it. The first 5-6 blogs on the 100 Mirrors list should open fairly easy now.

We have to repeat our request to the fellow bloggers (who didn't give us administrator rights) to change the number of posts per page to 1 (path: settings/formatting/show)

Etta James - 1968 - Tell Mama

A must have for every soul brother and sister! Everything is perfect here, the chemistry is right, Etta swindles from the sheer contempt of "Tell Mama", to the poignancy of "The Love of my man", to the exuberant "Security" and the moving "I'd rather go blind"....Five stars are not enough!!

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.

Tracks
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)

1
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.

2
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;

3
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.

4
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

Etta_James_-_1968_-_Tell_Mama.rar

Monday, April 14, 2008

The Smith Connection - 1972 - Under My Wings

A sublime bit of east coast soul and the only full album ever cut by this heavenly-voiced trio! The group have a sound to rival the best of their contemporaries on the harmony soul scene, one that floats along on a light pillow of strings and soul, with just the right amount of heavier touches to give the record a bit more of the HDH depth. The falsetto bits are especially nice drifting out in front of the deeper vocals and the whole thing's got a solidness that should have made these guys huge.

These brothers from St. Louis are the Delfonics of the Mid-West. If you like the style of male vocals from the '70s, this is a must buy.

This is a @320 vinyl rip of my original Buddah records with covers. There's a CD reissue only in Japan.

Tracks
A1. The Day You Leave 3.54
A2. I've Been In Love 3.44
A3. I Can't Hold On Much Longer 3.01
A4. Under My Wings 3.49
A5. Wish I Had You 3.05
A6. 'Til There Was You 3.00

B1. My World Is Empty Without You 5.25
B2. Rainy Days & Mondays 3.45
B3. I've Come To Stay 4.12
B4. Angel Girl 4.00
B5. You Ain't Livin' Unless You're Lovin' 3.35

1
….I've been collecting classic soul since the 1990s. For so long, I have searched for a group that had similar vocal and instrumental styling as The Main Ingredient during their early years. And The Smith Connection fits that description. This early-70s group, has all the beautiful orchestral and vocal styling of that era. Their harmonizing is beyond words. In some songs, their vocals blend together so smoothly until they almost sing like the wind. I will say that parts of this album are very syrupy and sweet, and for anyone not familiar with early-70s soul groups, they may write this album off as sounding "dated." But hey, that was the sound of the time and it's still beautiful to hear.
My favorite song on this album is 'Til There Was You. It is gorgeous! I also like I've Come To Stay and My World Is Empty Without You. If you listen to I Can't Hold On Much Longer (another favorite), listen to the amazing falsetto who comes in at the end of each verse "...a love you won't regret!" And "...I love you so much more!" Perfect timing and delivery. My voice cracks when I try to sing those lines. As I have mentioned before with other lesser known soul artists, with so much great competition out there at the time, I understand why this group isn't as memorable as they should be, but they still deserve more attention. They earned a spot in soul history. After hearing this album, the group leaves me hanging for more.

2
The first time I heard these guys was back in the 70's. I was just a teenager then in high school. It was one of my fathers' records I heard him playing and it blew me away. Years later I still remember them even though its been years since I heard them. A definite collectors item for those into classic soul R&B.

Get it here
The_Smith_Connection_-_1972_-_Under_My_Wings.rar

Sunday, April 13, 2008

Lost-In-Tyme

You may notice that the main Lost-In-Tyme page it's been deleted from blogger "for repeated TOS violations"....

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 !!!

the Lost-In-Tyme team

Saturday, April 12, 2008

Blog removed for repeated TOS violations

Hello,

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.

Sincerely,
The Blogger Team

Wednesday, April 9, 2008

First Choice - 1974 - The Player

Their classic second record, and a pivotal album in defining the east coast uptempo sound of the mid 70's. Rochelle Fleming and the gals sing in soulful harmony style, while Norman Harris and Vince Montana lay down some heavy uptempo grooves. Includes their classic "scolding" songs "The Player", "Hustler Bill", and "Guilty", plus a number of other nice groovers.

Powered by Norman Harris, the First Choice became one of the greatest female disco acts of all time. Classic Philly Soul - early disco!

This is a @320 vinyl rip of my original Philly Groove records with covers.

Side A
1. The Player (7:10)
2. Guilty (4:51)
3. You Took the Words Out of My Mouth (4:44)
4. You've Been Doin' Wrong For So Long (3:56)

Side B
1. Hustler Bill (5:28)
2. All I Need Is Time (4:42)
3. Guess What Mary Jones Did (4:59)
4. Guilty (Instrumental) (4:51)

Although they never had commercial success commensurate with the quality of their records, Philadelphia’s First Choice were probably the finest female vocal group of the disco era. Originally formed by Rochelle Fleming and Annette Guest the group went various names and personnel changes before settling on First Choice and the line up of Flemming, Guest, Wardell Piper and Mulaney Star. Working with Philly mainstays Norman Harris and Alan Felder the group recorded their debut single, the frantic “This Is The House Where Love Died” on Scepter/Wand in 1972.

Star left the group after that and the remaining trio recorded “Armed and Extremely Dangerous” for Philly Groove. It was their biggest pop hit, thanks to one of the definitive proto disco beats. Despite the record’s success, Piper left the group and replaced by Joyce Jones on “Smarty Pants” , which went to #9 in the UK.
Flemming was at her best and the rhythm from drummer Earl Young and Bassist Ronnie Baker was soon to become the definition of disco.

In 1974 “The Player” was classic Philly Sound, with the hissing hi-hat and deep, watery Feder Rhodes as well as great vocals from Flemming, while “Guilty” a cover of The Pearl records – suffered by not having Flemming on lead.
First Choice signed with Warner Bros in 1976, but their stay only lasted foe the album “So Let us entertain you”. With Jones replaced by Ursula Herring the group signed to Salsoul’s Gold Mind and record some of disco greatest records. ” Doctor Love” was a pumping dancefloor classic, while “Double Crossed”may have been preety uninspiring for the most part – by – numbers Salsoul/late Philly disco – but the string intro was one of disco’s most sublime moments. Most sublime of all, was “Let No Man Put Asunder” recorded in 1977, the 1982 remix turned it not only into one of the greatest disco records, but one of the building blocks of house music. It was 1979 “Love Thang”, that finally established Rochelle Flemming as one of the greatest disco divas. The group split up after the release of “Breakaway” but Fleming continued to record club anthems into 90’s.

Get the Philly soul - disco here

First_Choice_-_1974_-_The_Player.rar

Posted by nikos1109 at 4/09/2008 08:20:00 PM
31 comments Labels: F, nikos1109

Monday, April 7, 2008

Bettye Swann - 1967 - Make Me Yours

Bettye Swann has an amazing voice & delivery. The sound quality is great as are the arrangements. One more fine example of how Soul Music manifested itself across America in the 60's; each region with it's own amazing signature. Only shame is the Pop Charts ignored so much really good music and great artists such as this lady & and Baby Washington, Maxine Brown etc.

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.

Tracks
A1. Make Me Yours 2.45
A2. Fall In Love With Me 2.50
A3. Don't Look Back 2.52
A4. Don't Wait Too Long 2.40
A5. Don't Take My Mind 2.35
A6. I Can't Stop Loving You 3.45

B1. I Think I'm Falling In Love 2.49
B2. You Gave Me Love 2.45
B3. The Heartache Is Gone 2.21
B4. I Will Not Cry 3.08
B5. What Is My Life Coming To 2.43
B6. A Change Is Gonna Come 3.56

Uncut (p.132) - 4 stars out of 5 - "She once made the rainiest stetson ballads scorch with R&B sparkle....Terrific."

Mojo (Publisher) (p.116) - 4 stars out of 5 - "No one sings like Bettye Swann. Her tender, yet flirty vocal delivery blended the syrupy pop sensibilities of the Motor City with the gutsy passion of Muscle Shoals and Memphis."

Living Blues (9-10/01, p.80) - "...With her plaintive vocals surrounded by breezy brass...Swann paced the R&B charts in '67 with her teasing 'Make Me Yours', its mid-tempo glide indicative of her entire output for the Money imprint..."

-----------

She grew up in Arcadia, Louisiana, one of 14 children, and moved to Los Angeles, California in 1963. Although some sources state that she was in a vocal group known as The Fawns who recorded for Money Records in 1964, she has refuted this, saying that she sang with a trio in Arcadia by that name.

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[2]. 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.

Discography

Albums
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

Singles
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

Bettye_Swann_-_1967_-__Make_Me_Yours.rar

Saturday, April 5, 2008

Freddie Scott - 1967 - Are You Lonely For Me?

This is a masterpiece of Deep Soul.

Incredible voice. If you're a 60's R&B fan and by chance you've never heard "Are You Lonely For Me" you need to rectify that NOW. Freddie writes some good tunes, sings with utter authority and actually tops Solomon Burke on "Cry to Me."

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

Tracks

A1. Are You lonely For Me? 3.07

A2. Let It Be Me 3.12

A3. Open Up The Door To Your Heart 2.33

A4. Where Were You 2.50

A5. Spanish Harlem 3.04

A6. Shake A Hand 4.55

B1. He Will Break Your Heart 3.26

B2. Who Could Ever Love You 3.25

B3. Cry To Me 3.15

B4. For Your Love 3.16

B5. The Love Of My Woman 3.14

B6. Bring It On Home To Me 3.15

Deep soul belter Freddie Scott, is best remembered for his 1966 R&B chart-topper "Are You Lonely for Me,". In 1961, he also resumed his recording career, cutting "Baby, You're a Long Time Dead" for the Joy label. In 1962, fellow Aldon songwriters Gerry Goffin and Carole King approached him for assistance with "Hey Girl," a new tune they hoped to pitch to soul singer Chuck Jackson. When Jackson proved unable to make the scheduled recording session, Scott cut the vocal instead, and when Colpix Records finally issued the ballad a year later, he entered the Top Ten on both the pop and R&B charts. A slow-burning rendition of Ray Charles' R&B classic "I Got a Woman" followed, affirming Scott as a deep soul singer of uncommon depth.

In 1965, he even released Everything I Have Is Yours, a cabaret-inspired LP comprised largely of hit movie themes. The makeover fell flat, and Scott returned to a more traditional soul dynamic with the excellent Lonely Man. Record sales were virtually nonexistent, however, and after two last-gasp Columbia singles — including the poignant ballad "Don't Let It End This Way" — the label let him go. Scott resurfaced in 1966 at Shout Records, the fledgling soul label founded by producer/songwriter Bert Berns — together they co-wrote "Are You Lonely for Me," a simmering, bluesy knockout that reportedly required over 100 vocal takes prior to completion. Scott's Herculean effort was rewarded with a record that topped the R&B charts for four weeks while rising to number 39 on the pop charts. The 1967 follow-up, "Cry to Me," proved a commercial disappointment, but Scott's impassioned, tender performance represents his creative apex. He returned to the R&B Top Ten with the funky "Am I Grooving You?," and while "Just Like a Flower" missed the charts entirely, 1968's "(You) Got What I Need" earned a spot in the R&B Top 40 as well as an eccentric cover by rapper Biz Markie some 20 years later.

But after Berns died, his wife proved unable to keep Shout Records afloat, and following one last Shout single, "No One Could Ever Love You," Scott left the label, spending the next two years without a record deal. He finally landed with the short-lived Elephant V, issuing "Sugar on Sunday" in 1970. After cutting a follow-up, "I'll Be Leaving Her Tomorrow," he again packed his bags, moving to ABC's Probe imprint for I Shall Be Released, scoring his final R&B Top 40 entry with the title cut, a powerful rendition of the Bob Dylan perennial.

When Probe folded, Scott was again seeking a place to record, signing to Vanguard for the one-off 1971 single "I Guess God Wants It That Way." Pickwick International released 1972's "The Great If," and two years later Scott resurfaced on Mainstream with the ballad "You Are So Hard to Forget," which proved his final single. By now he made his living primarily through writing advertising jingles with longtime composing partner Miller, and also turned to acting, appearing in the films Stiletto and No Way Out.

Get it here
Freddie_Scott_-_1967_-_Are_you_lonely_For_Me.rar

Thursday, April 3, 2008

Eddie Kendricks - 1972 - People ...Hold On

Surely one of the most impressive albums to come out of Motown during early 70’s was “People – Hold On”, only the second album from Mr. Eddie Kendricks since his split from The Temptations some three years ago.
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.

Tracks

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.

2
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

Eddie_Kendricks_-_1972_-_People_..._Hold_On.rar

March 2008

2008-03-24T03:42:00.000-07:00

Monday, March 31, 2008

Bunny Sigler - 1975 - Keep Smilin'

A philly classic, and you know that I adore philly sound.

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.

Tracks
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.

Get it here
Bunny_Sigler_-1975-_keep_smilin_.rar (new)

Bunny_Sigler_-_a4_-_That_s_How_Long_I_ll_Be_Loving_You.rar

Friday, March 28, 2008

The Futures - 1975 - Castles In The Sky

The Futures were one of the most criminally underrated soul harmony vocal groups of the 1970s. Despite the greatness of their recordings, they failed to make it big. This 1975 release is deservedly viewed as a classic "Sweet Soul" album today although it went nowhere when originally released. Highly recommended.

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

Tracks
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

1
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".

2
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.

bi0
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'.

Get it here

The_Futures_-_Castles_In_The_Sky.rar

Thursday, March 27, 2008

Baba Yaga (US) - 1978 - On The Edge

"On The Edge” by Baba Yaga – A Women’s Band
(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
Payne, etc

Tracks
1 Charlotte's Web
2 Sweet Beginnings
3 Terra
4 Too Cool To Be True
5 Monogamy - Shbedogamy
6 Smoke
7 A Little Bit Of Something Special
8 Old Woman
9 Nomi
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

@320
baba_yaga__us__-_1978_on_the_edge.rar

Enjoy

Wednesday, March 26, 2008

Ace Spectrum - 1974 - Inner Spectrum

Ace Spectrum was one of the groups that never really had a chance, but those of us who had an ear for real music found them and remain loyal more than thirty years later. I still play this lp regularly. If you don't own and call yourself an R&B fan you are really missing out. "Movin' On" is the ultimate break up song and "I Don't Want To Play Around" will quickly become a favorite for all who enjoy Old School. Get it.

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

Tracks

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

1
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!

2
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.

Get it here

Ace_Spectrum_-_1974_-_Inner_Spectrum.rar

Monday, March 24, 2008

Chicago Gangsters - 1976 - Gangster Love

An extremely rare funky soul album never released on cd.
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.

Tracks

A1.Gangster Love 2.59

A2. On The Way 4.00

A3. I'm At Your Mercy 4.10

A4. Feel Like Making Love 4.50

B1. Michigan Avenue 5.15

B2. Music For The People Pt.1 3.27

B3. Music For The People Pt.2 2.03

B4. Got A Little Picure 5.27

Despite their name, the Chicago Gangsters were originally from Ohio, consisting of brothers James, Sam, Chris, and Leroy McCant. Their sound ranged from heavy funk and disco to sweet, smooth soul balladry. They adopted the name Chicago Gangsters after catching on with the Gold Plate label, where they worked with prolific songwriter/arranger Richard Evans and a number of Chicago's top studio musicians. Their debut LP, Blind Over You, was released in 1975 and contained the slamming funk of "Gangster Boogie," as well as a minor hit cover of "I Choose You," which Willie Hutch had originally recorded as the love theme to the film The Mack. The title track of their 1976 sophomore album Gangster Love was another minor hit, and also the first 12" single their label ever issued. 1977's "I'm an Outlaw" was their last single for Gold Plate; a year later, they cut "Windy City Boogie" for RCA. Dropping the "Chicago" part of their name, the Gangsters subsequently signed with Heat and recorded a third album, Life Is Not Easy Without You, in 1979. They continued on into the early '80s before disbanding. "Gangster Boogie" became a massively popular sample item for hip-hoppers and breakbeat aficionados, most prominently appearing on L.L. Cool J's hit "Mama Said Knock You Out"; their first album was eventually reissued as Gangster Boogie.

Get it here
Chicago_Gangsters_-_1976_-_Gangster_Love.rar

Friday, March 21, 2008

Carla Thomas - 1967 - The Queen Alone

Carla Thomas was to Memphis’ Stax Records what Aretha was to Atlantic: the label’s reigning matriarch. She is one of the most respected singers of any era.

Carla Thomas was more than deserving of her title "The Queen of Memphis Soul," but she was hardly oblivious to the sleeker, more pop-influenced sweet soul and uptown soul coming out of Detroit, Philadelphia and Chicago.

A classic!

This is a @320 vinyl rip of my original Stax Record with covers.

Tracks

1. Any Day Now 3.40
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

The queen of Memphis soul -- caught "alone" after a some earlier hit recordings as part of a duo with Otis Redding -- but now on her own in the years after Otis untimely early passing! The album has Thomas strongly returning to the sound of her first few albums on Stax -- a bold, full-voiced sound that has her remerging as one of the first ladies of soul at the end of the 60s, and coming across with a sound that's a fair bit more mature than her earliest singles. The tunes include a great batch of original Isaac Hayes & David Porter compositions -- the strength of which really hold the album together, and make for a no-filler set all the way through!

One of her strongest albums, "The Queen Alone' isn't the work of someone who took a Memphis-only approach, but of someone who was well aware of what Gladys Knight, Dionne Warwick, Martha Reeves and others were up to. What's surprising is the fact that this album contains only two hits: the playful "Something Good (Is Going to Happen to You)," which made it to number 29 on Billboard's soul singles chart, and the idealistic, gospel-influenced ballad and number 11 R&B single "I'll Always Have Faith In You." Songs ranging from the sweet and vulnerable "I Want to Be Your Baby" to the remorseful "All I See Is You" and the pessimistic "Any Day Now" (a song co-written by Burt Bacharach) weren't singles, but it wasn't for a lack of heartfelt singing. Drawing on both Southern and Northern soul, Queen is a pleasant reminder that they were equally attractive options.

Get it here

Carla_Thomas_-_1967_-_The_Queen_Alone.rar

Tuesday, March 18, 2008

Sister Sledge - 1979 - We Are Family

One of the greatest dancers ... I mean, disco albums of all times! The Sledge sisters soulful vocals make this album a notch above CHIC's own albums, the arrangements of piano, crisp rhythm guitar, thumping bass and a warm strings sound are timeless.

Nile Rodgers and Bernard Edwards of Chic produced this masterpiece for Sister Sledge. Easily the groups best release and not a weak track on the album. Unforgettable ballads and the uptempo tracks speak for themselves!Collectors item!

"We Are Family" is still kind of a guilty pleasure of ours, and that nice Nile Rogers guitar keeps on ripping along in a way that never gets old!

This is a @320 vinyl rip of my original Cotillion Record with covers.

Tracks

A1 He's The Greatest Dancer (6:04)
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 story of how the We Are Family album came to be is one of the players clicking together at the right time. Guitarist Nile Rodgers and bassist Bernard Edwards were a crack production team that, along with the drummer Tony Thompson, formed the heart of the band Chic. Philadelphia siblings Debbie, Kim, Joni and Kathy Sledge had been on the R’n’B scene for several years but were still relative unknows when Atlantic Records match-made them with their labelmates Chic, who has scored a trio of pop hits with discotheque staples “Dance Dance Dance”, Everybody Dance” and “Le Freak”.

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)

Kathie, Jodi, Debra, and Kim Sledge has started recordings as Sister Sledge as teenagers in 1971. Based in Philadelphia they released some material on the Money Back label and worked as back up singers for Gamble & Huff’s PhiladelphiaInternational. After signing to Atlantic in 1973, they had some minor success with the proto disco record “Love Don’t Go Through No Changes On Me” and “Mama Never Told Me” which reached the UK top 20 in 1975. By and large, however, they toiled in the background for half a decade until Chic saved them from obscurity. Recognizing that lead singer Kathie was, in traditional soul terms at least, one of the most skilled vocalists in disco, Rodgers and Edwards subtly changed the standard Chic formula in favor of full-blooded disco-gospel release. The first single “He’s The Greatest Dancer”, led by an amazing, popping, guitar figure from Rodgers, the single became the group’s first major hit, reaching the pop Top 10 and #1 on the RnB chart. As Well as boasting one of the great disco breakdowns, the song also highlighted Rodgers and Edwards’ songwriting prowess. The Album’s best writing, however, was to be found on “Lost In Music”. The album’s title track was even bigger. Based on a riff stolen from Children of God, “We Are Family” might have been a gospelesque get happy tune about the joy of sisterhood and became an all purpose anthem (from the book - The Rough Guide To Soul and RnB).

This album is undoubtedly a timeless classic and this is primarily due to the crucial teaming of two magical elements. The precision and meticulous production of Niles Rodgers and Bernard Edwards combined with the silky smooth vocals of the Sledge Sisters. The irony is that although the production is flawlessly polished and considered, the result is completely joyful and spontaneous. All eight songs are wonderful but the most recognizable will be the massive hits "We Are Family","He's the Greatest Dancer", "Lost In Music" and "Thinking of You". All the usual characteristics of Rodgers/Edwards productions are present here: strong melody, driving bass, funky guitar, tight soulful vocals but what is particularly impressive is the soaring add lib sections towards the end of each song ("We Are Family" is extended to a glorious eight minutes thanks to Kathy Sledge's improvisation). The never-ending samples and imitations that this album has inspired today is indicative of its durability and influence. It doesn't represent or define the disco era, it transcends it.

Get this soulful disco gem here

Sister_Sledge_-_1979_-_We_Are_Family.rar

Saturday, March 15, 2008

Pleasure - 1977 - Joyous

Sublime jazzy soul from Pleasure - one of the greatest groups of the west coast scene of the 70s - and a key force in defining the Fantasy Records groove of the time! Pleasure have a sound that's head and shoulders above most of their contemporaries -- especially groups on major labels who tried for this sort of blend, but never made it come off that right -- usually too smooth or too commercial. The mighty Wayne Henderson is a key factor in their sound -- as he produced with that well-balanced groove he brought to his best work under At-Home Productions umbrella.

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

Tracks

A1 Joyous (6:26)
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)

1
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.

2
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.

Get it here
Pleasure_-1977_-_Joyous.rar

Thursday, March 13, 2008

Barrino Brothers - 1973 - Livin' High Off The Goodness Of Your Love

Excellent North Carolina-based quartet on Holland-Dozier-Holland's label.

Another super rare release from the excellent Barrino Brothers whose 1972 single release 'I Shall Not Be Moved' is one of the most sought after UK 45's on the label.

The LP can easily boast many more gems too for example check out the opening song 'Trapped In A Love' which is another mid tempo treat that's ideal for any commercial dance floor.For real collectors the highlight of the album must be the inclusion of the superb ballad 'It Doesn't Have To Be This Way' which is a highly collectable item today.

This is a highly recommended purchase alongside the other Hot Wax/Invictus CD's. A word of warning though, buy them now to avoid disappointment, and finding yourself waiting another thirty years until someone decides to re-issue them again.

This is @32o vinyl rip of my original Invictus record with covers

Tracks

A1 I Had It All 4.16
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

Julius, Bobby, Perry, and Nathaniel managed a couple 45s on the TCB label prior to signing to former Motown production legends Holland, Dozier, Holland's Invictus label in the early 70s. The production architects at Motown to both The Supremes and Four Tops first successful albums in 1964 (and their continued success while being produced by the trio), had by the latter 60s won their legal freedom from the label. By the early 70s the team was producing some of the best music to ever come out of their studios, releasing songs by Honey Cone, Chairmen Of The Board, Freda Payne, 8th Day, Smith Connection, as well as others, on several of their labels, including Hot Wax, Invictus, Music Merchant Records, etc.

By signing the Barrino Brothers it is believed it was the label's vision to present a vocal group sound not present on the label at that time, what with Chairmen Of The Board presenting a rawer edged sound, Smith Connection- some very sweet soul, and 8th day not presenting a smoother, harmony sound. The Barrino Brother's vocal harmony, including a deeper sound was unique to the label at the time. In 1973, on the Invictus label was released the group's one and only album "Livin' High Off The Goodness Of Your Love".

Unfortunately, songs off the lp had as hard a task getting significant radio airplay as new shrubbery on the floor in the heart of the amazon! The group, as so many before them came to realize unfortunately, "it ain't that easy". Despite having production input from the legendary team, it was not enough to catapult the group to greater career success. The original 1973 album when appearing for sale, if in pristine condition, due to it's obscurity and extremely low availibility, does command supply/demand numbers. The lp onto cd was released Japan only in the 80s. It has been availible to the worldwide market with 2 different titles (basically the same cd, one has a couple extra tracks, incl. instrumentals) for several years now, still as imports.

This is the release of a lost, vocal group, soul lp.

Get it here
Barrino_Brothers_-1973-_Livin__High_Off_The_Goodness_Of_Your_Love.rar

Tuesday, March 11, 2008

Well, Thank you all for the response & commenting to the posts !

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 !

(I'm usually say "thanks" because of my bad English).

We don't ask for a reply in every album that you downloading but if you can leave one or two comments every week that would be great !

Once again thank you for your participation and be there !

Gladys Knight & The Pips - 1974 - I Feel A Song

Tracks :
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)

Reviews :
1
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)

2
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)

3
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.
source : http://classic.motown.com/artist.aspx?ob=ros&src=lb&aid=27

Get it here :
RapidShare or SendSpace

Friday, March 7, 2008

Where are you? (Get together)

I would like to thank you for your devotion so far. This blog has great number of visitors and downloads. More than we expected.

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

Cameo - 1977 - Cardiac Arrest

A true funk killer classic!

This album is one of the funniest and most funkiest of albums that have graced my turntable. Even though "find my way" and "rigor mortis" are danceable and funky, respectively, the 'piece de resistance' on this lp is the magnificently funky "funk funk"! what a concept! the first 30 seconds of this cut do not prepare you for what you'll hear for the rest of the track, for it is pure funny funk from larry blackmon and gregory johnson on funky vocals.

Always in every list of the 25 funk albums of all time, heavily influenced by p funk and kool and the gang "funk funk" sounds like george clinton gave them one of his left overs that song reaaly sounds like p funk 4real "rigor mortis" was a mutha and also one of the most sampled funk jams of all time.

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

Tracks:
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)

1
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.

2
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.

3
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.

Get this Classic Funk here

Cameo_-1977-_Cardiac_Arrest.rar

Monday, March 3, 2008

Silk - 1977 - Smooth As Silk

I had this treasure on mp3 for a long time, but I couldn’t find the vinyl.
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.

Tracks

A1. I Know I Didn’t Do You Wrong (3.35)

A2. Give Yourself to Me (3.08)

A3. Leaving Me (3.59)

A4. Call Me (3.35)

A5. Live While You Can (3.36)

B1. Party Pt. 1and2 (6.21)

B2. Ain’t No Need of Crying (3.29)

B3. On Fire (3.44)

B4. Let Him Go (4.08)

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.

Not to be confused with 90's R'n'B Silk.

Get this smooth soul here

silk_-1977-_smooth_as_silk.rar

Saturday, March 1, 2008

Jimmy Bellmartin - The Best Of Jimmy Bellmartin [1974, Vinyl]

Jimi Silawanebessy (his real name) was born in Bogor, Indonesia in 1949 and he came to Holland when he was just one year old. He first was a member of a group called Witch Concern and started his solo-career in 1970, which meant recording singles and performing with a coverband for American soldiers in Germany and Holland, where Jimmy often became James Brown and/or Wilson Pickett. In '74 his singles were compiled on the Polydor album The Best Of Jimmy Bellmartin, including So Fine, on which you may recognise the backing vocals of a famous female trio: Patricia Paay, Yvonne Keeley and Anita Meyer. Jimmy is still performing today and hopes to record his next album with producer Ernst Jansz (of Doe Maar-fame). He wants to do an acoustic album this time, but still as a soulsinger [Dutch Rare Groove Artists]

Track list;
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]

Style; Soul

Ballin'jack - 1974 - Live And In Color

Mercury SRM 1-700

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.

Tracks :
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

Ballin'jack :
Ron Hammon (Drums, Percussion)
Luther Rabb (Bass, Lead Vocals)
Jim Coile (Sax, Flute)
Glenn Thomas (Guitar)
King Erisson (Congas)

Bio :
Luther Rabb and Ronnie Hammon originally formed Ballin'jack in their hometown of Seattle, Washington in 1969. Getting encouragement and inspiration from the sudden success of their childhood friend Jimi Hendrix, they added Glenn Thomas on guitar and a compliment of horns including long time musicians like Jim Coile and Tim McFarland. They moved to Los Angeles, California where there are many stories of famous people visiting their big mansion home-studio near the Sunset Strip. Ballin'jack's reputation was that live their shows were so good that fans were known to have left afterwards, and that some headliners had actually refused to have them again as an opening act. This didn't seem bother Jimi all too much...as he aksed his old school mates to come along with him on his 1970 "Cry Of Love" tour. During 1969-74 Ballin'jack headlined up and down the West Coast and went on nationwide US tours warming up for many legendary bands at famous venues like the Fillmore East and West and was on the bill of several large "Pop Festivals" of the era. They went as far as Japan with great reception.

Ballin'jack's studio recordings hold true as archives of some very cool and spiritually diverse music. Their songs have broad appeal, containing purely original beats, rich soulful melodies and plenty of good old-fashioned "Wah-Wah" guitar. In the years to come, many of their funky, yet organic sounds were re-discovered by live DJ's (who still spin LP records). In 1989, Young MC won a Grammy award for the hit single "Bust A Move" using a looped lick taken from the their song "Found A Child". Sampled by many since, the Hip-Hop movement found that... the grooves Ballin'jack had originally laid down over 30 years ago… were in fact, original.

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 :
RapidShare or SendSpace

February 2008

2008-02-24T03:46:00.000-08:00

Wednesday, February 27, 2008

Barbara Jean English - 1972 - So Many Ways...

An unknown gem, lost in the music lover's collections.

I finally discovered it and i am happy to share it with you.

Great rhythm ‘n’ blues vocals from one of the sweetest singers of the early '70s. Barbara Jean English notched another Northern soul hit (billed as Barbara English) with Sittin In The Corner, a record which now changes hands for £150 a copy.

This is a @320 vinyl rip of my original Alithia Record with covers.

Tracks
A1 I'm Sorry (2:55)
A2 I'm Living A Lie (2:45)
A3 Lil' Baby (3:46)
A4 Danger Signs (2:30)
A5 Baby I'm A Want You (2:28)
B1 So Many Ways To Die (3:20)
B2 Just Like A Lady (3:07)
B3 All This (3:40)
B4 Don't Make Me Over (2:23)
B5 Love Story (3:06)

Barbara Jean English was a member of the popular New Jersey girl group the Clickettes and recorded many pop-soul sides with them in the late '50s and '60s. She returned in the '70s to record two albums of lushly produced soul with a concentration on sensual ballads. After a brief hiatus, she re-teamed with the Clickettes in the '90s to tour the oldies circuit. “I'm Living A Lie” is included in several northern soul compilations. A great cover of Bacharach/David “Don't Make Me Over” and Francis Lai “Love Story” are the highlights of this forgotten gem.

Get it here
Barbara_Jean_English_-1972-_So_Many_Ways.rar

Monday, February 25, 2008

Lee Dorsey - The New Lee Dorsey

Lee Dorsey - The New Lee Dorsey
(Working In The Coal Mine/ Holy Cow Twofer)

Tracks :
1. Working in the Coal Mine
2. Operation Heartache
3. Why Wait Until Tomorrow
4. Mellow Good Time
5. Mexico
6. Gotta Find a Job
7. Rain Rain Go Away
8. Confusion
9. Holy Cow
10. Don't You Ever (Leave Me)
11. Neighbor's Daughter
12. Little Dab a Do Ya
13. Mellow Good Time, Pt. 2 *
14. Little Ba-By *
15. I'm Gonna Sit Right Down and Write Myself a Letter *
16. Lover Was Born *
17. What Now My Love *
18. Lottie Mo '68 *
19. Everything I Do Gonh Be Funky (From Now On) *
20. There Should Be a Book *
21. Candy Yam *
22. Give It Up *
23. What You Want (Is What You Get) *
24. I'm the One *

Review:
Less than a year had passed between this and Lee Dorsey's previous LP, Ride Your Pony, and Allen Toussaint was again the prime creative force, writing material and co-producing. The sound, however, had definitely taken a step in a funkier direction. It's still lighthearted, though not lightweight, soul music with a New Orleans bounce, paced by the Top Ten hit "Working in a Coal Mine" and also including the Top 30 follow-up "Holy Cow." Other than those hit singles, the songs, though not exactly throwaways, aren't up to the same level. The original LP duplicated four songs from Ride Your Pony, and the 2000 Sundazed CD reissue has taken intelligent liberties with the track sequence. It removes the four duplicated songs and replaces them with rare singles from the era, most notably the uncommonly moody 1967 45 "Rain Rain Go Away." Furthermore, an additional dozen tunes are added as bonus tracks, most taken from rare 1968-1970 singles, with a couple of previously unissued cuts and a 1968 recording ("Lottie Mo '68") that didn't show up until 1997. These bonus items are on the whole more worthy of investigation than the slightly earlier rarities that fill out Sundazed's Ride Your Pony CD, as Dorsey and Toussaint (who was, still, writing virtually everything) venturing into deeper funk, sometimes with backup by the Meters. Maybe you don't need the five-minute reading of "What Now My Love," but "Little Ba-By," the self-fulfilling prophecy "Everything I Do Gonh Be Funky (From Now On)," and "What You Want (Is What You Get)" are decent soul-funk. Of the previously unavailable songs, "A Mellow Good Time, Pt. 2" is an instrumental continuation of one of the songs on The New Lee Dorsey, while "I'm the One" is a serviceable 1970 Toussaint number.
~Richie Unterberger, All Music Guide

Get it here :
RapidShare or SendSpace

Thursday, February 21, 2008

Black Ivory - 1975 - Feel It

Mmmmmmmm...... The sounds of sweet soul music stirring in the taste buds of hungry music listeners. Around the early 70''s, there were quite a few of these wonderful sweet soul groups such as, The Delfonics, The Chi-Lites, The Stylistics, The Fuzz, Chocolate Syrup, Soul Generation, First Class, Continental Four, and The Main Ingredient, and so on, to satisfy our desires, and to have our musical souls sweetened. Well, this group that hails from New York City, decided to add their magic touch to create a yummy ingredient for tasteful soul. Sweet soul fans,
I give you............ Black Ivory !!!!!

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

Tracks
A1 Will We Ever Come Together (3:28)
A2 Your Eyes Say Goodbye (4:31)
A3 You're Whats Been Missing From My Life (2:59)
A4 Daily News (Vocal) (4:46)
A5 All In A Day's Love (2:43)

B1 Feel It (3:20)
B2 Warm Inside (3:32)
B3 Love, Won't You Stay (2:05)
B4 Daily News (Instrumental) (3:11)

Sweet mellow soul meets the burgeoning East Coast club sound -- and the result is a tasty album of groovers that includes the vocal and instrumental versions of "Daily News", plus the cuts "Warm Inside", "Feel It", "Will We Ever Come Together", and "All In A Day's Love". Arrangements by Leroy Burgess and Patrick Adams, with the classic Black Ivory groove.

After a four-year absence, and minus producer Patrick Adams, Feel It, produced by Robert John, Mike Gately and Black Ivory, ranks as good or better than the previous two. Heavy on ballads, this offering contains three sides written by group members Leroy Burgess, Stuart Bascombe, and Russell Patterson: "Warm Inside," "Your Eyes Say Goodbye," and the disco-oriented "Daily News." The cream, however, is John & Gately's "Will We Ever Come Together," a vastly underrated ballad.

Bio
"Mellow Souls" changed the name in to "Black Ivory"The group recorded their first hit for the label entitled, " Don't Turn Around" in 1971. The song became an instant smash, hitting No 38 on the R&B charts. An LP of the same title would surface around late 1971, and it's a sweet soul masterpiece !!!

The LP " Don't Turn Around" would release 2 wonderful smokers such as, " You and I" which hit No 32 on the R&B charts and " I'll Find A Way". The Lp contains more classics featured such as, " Find The One Who Loves You", " She Said That She's Leaving" and " If I Could Be A Mirror". During this time in 1972, the would make personal appearances around the country, gaining fans from all over. In early 1973, the group released their second LP entitled, " Baby Won't You Change Your Mind".

Another beautiful masterpiece single would be released from the LP named " Spinning Around" b/w " Find The One Who Loves You". The single became a doubled A sided hit around May of 1973. " We Made It" which was never featured on the LP was released along with " It's Time To Say Goodbye".

Even though Black Ivory released some great singles during the 1971-73 period, their label Today Records was going though some financial problems, so the group vowed to get out of their contract. After being released from their contact in late 1973, the group signed with the newly formed " Kwanza Records label in early 1974. " Kwanza" was a subsidary of Warner Bros. They recorded a funky get down single called "What Goes Around ( Comes Around)" and released it around the spring of 74,along with an appearance on tv's Soul Train. The label would fold very quickly, which prompt the group to sign with Buddah records in early 1975. They recorded a LP," Feel It" and release another great ballad, " Will We Ever Come Together". They continued to record for the label until their last LP in 1977, " Black Ivory". By then steam was running out for the group and Leroy Burgess left the group, leaving Bascombe and Patterson to form Black Ivory as a duo. Their last hit as a twosome was a dance club favorite named, " Mainline" in 1979. They split up in early part of the 80's.

Get it here

Black_Ivory_-1975-__Feel_It.rar

Monday, February 18, 2008

The Reflections - 1975 - Love On Delivery

I always search for this vinyl and finally I got my hands on it.

A modern soul classic - and a darn hard record to find! The Reflections were an obscure male quartet with a sound that mixed deep soul vocals and smooth modern production, and as far as we know, they only ever cut this one LP for Capitol. Melba Moore gave the group their start, and the album features arrangements by the likes of Paul Griffin, Bert DeCoteaux, and JJ Jackson. Includes the wonderful spacey soul cut "She's My Summer Breeze", plus "Are You Ready", "One Into One", "Now That You've Taken Your Love", and "Love On Delivery". Great stuff -- and one of those gems that keeps us diggin through rare vinyl!

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

Tracks
A1 - Day After Day (Night After Night) 4.35
A2 - Love On Delivery (L.O.V.) 5.30
A3 - Now You've Taken Your Love 5.40
A4 - Are You Ready (Here I Am) 3.39
A5 - She's My Summer Breeze 4.23

B1 - All Day, All Night (Runnin' Around) 3.31
B2 - One Into One 4.15
B3 - Telephone Lover 4.03
B4 - How Could We Let The Love Get Away 4.12

B5 - Three Steps From True Love 3.43

They were a New York City vocal group formed in 1971.
They also served as Melba Moore's background vocalists during a 1972 tour.
In 1971, Melba was preparing for a tour and required some singers for a Gospel section of her act.

What began as a two and a half week run, developed into a three and a half year tour.

They recorded for Capitol in the mid-'70's, and made one chart number, 'Three Steps from True Love,' in 1975. It was their lone Top Ten R & B hit.
The track was taken from their album 'Love On Delivery', which was produced by J.R.Bailey. The Executive Producer was Larkin Arnold.
Also contained, on that album, is the track 'She's My Summer Breeze', popular on the UK rare groove scene.

Get it here

reflections_-_1975_-_love_on_delivery.rar

Now, which of the following you want to be the next post?

1. Ace Spectrum - 1974 - Inner Spectrum

2. The Smith Connection - 1972 - Under My Wings

3. Black Ivory - 1975 - Feel It

Friday, February 15, 2008

Frederick Knight - 1972 - I've Been Lonely Fo So Long

Southern soul rarely if ever sounded so, so good. Simultaneously smooth and raw, "Lonely" has an immediacy that hits you where you live and then sticks around for a little while, taking up space on your sofa. Fix some sweet tea, and do it fast.

Frederick Knight's catchy "I've Been Lonely for So Long" was a sizable RB hit on Stax in 1972, and he wrote and produced Anita Ward's across-the-board smash "Ring My Bell" in 1979. Knight cut his own "I've Been Lonely for So Long" in Birmingham, Alabama with a seasoned southern soul crew behind him, and hit again in 1975 with "I Betcha Didn't Know That."

This is a @320 vinyl rip of my original Stax record.

Tracks

A1 I've Been Lonely for So Long 3:20
A2 This Is My Song of Love to You 3:14
A3 Take Me on Home Witcha 3:20
A4 Friend 3:28
A5 I Let My Chance Go By 3:54
A6 Your Love's All over Me 2:46

B1 Pick'um up Put'um Down 3:31
B2 Now That I've Found You 3:02
B3 Lean on Me 3:05
B4 Trouble 3:09
B5 Someday We'll Be Together 4:40

Mr. Knight uses his fine falsetto to best effect on the title song, which made it to #8 in the R&B charts in 1972. He also plays piano, organ, drums and percussion all over this self-produced 1973 Stax reissue. The album has plenty of fine songs. “ I Let A Chance Go By” is a wonderful mid-tempo look at regret and misery. Could it be a woman making Frederick so unhappy? Possibly. The vaguely doo-wopish ‘Now That I've Found You” is also worth a play or ten. Knight can manage funky, too, as he does on “Your Love's All Over Me/ Take Me On Home Witcha/ Pick 'Um Up, Put 'Um Down”. His cover of ‘Someday We'll Be Together” ain't too shabby either.

Frederick Knight was one of the many crooning Soul singers that signed to Stax. The title cut is a perfect example of his style with its light and catchy air led by Knight’s singing and the guitar. Trouble is in a similar vein. On the other hand, Friend and Lean On Me show a down home southern Soul feel to them, while ‘Take Me On Home Witcha” and “I Let My Change Go By” are more upbeat numbers. There’s also “Your Love’s All Over Me” and “Pick Um Up, Put Um Down” that get a little funky, especially the former track that has a little James Brown in it. Knight is even able to add his how style to the Motown song “Someday We’ll Be Together” that ends the album. The funky numbers are an added bonus, but it’s really the Soul of the record that holds its value.

Get it here

Frederick_Knight_-1973_-I_ve_Been_Lonely_For_So_Long.rar

Wednesday, February 13, 2008

Alice Clark - 1972 - Alice Clark

The Holy Grail of modern soul!
This is an amazing soul album that's highly prized among hardcore soul enthusiasts!

Share in the secret and find out why this album is so highly regarded!

This is an incredible album from the early 1970s. She's kind of a soul belter but with a groovy jazz sensibility and a bluesy wistfulness. If you like any of James Brown's women: Lynn Collins, for instance, you'll love this.

This is a @320 vinyl rip of my original Mainstream record.

Tracks
A1 I Keep It Hid (3:27)
A2 Looking At Life (3:10)
A3 Don't Worry Why (3:22)
A4 Maybe This Time (3:18)
A5 Never Did I Stop Loving You (2:34)

B1 Charms Of The Arms Of Love (2:38)
B2 Don't You Care (2:49)
B3 It Takes Too Long To Learn To Live Alone (3:34)
B4 Hard Hard Promises (3:05)
B5 Hey Girl (3:16)

There weren't many vocal albums on the Mainstream label during the early 70s, and this rare soul side is a real overlooked gem! Alice Clark has a rich soulful voice, with a style that sounds a bit like Esther Marrow, mixed with some of the lead vocalists in Voices Of East Harlem -a really right-on sort of sound that's totally great, and way hipper than most 70s chart soul! Arrangements are by Ernie Wilkins, who brings in a touch of jazz but again, with a much hipper feel than most of his other backings and most of the tracks are quite obscure, well-written tunes of the sort of material you might expect to hear sung by Gil Scott-Heron or Donny Hathaway

The self-titled 1972 disc from Alice Clark has more than stood the test of time, it is a sublime masterpiece of R&B/pop from the house of Bob Shad, the jazz producer who founded Mainstream Records, the original home for this superior project. Perhaps it isn't a coincidence that Clark's repertoire is exactly the kind of material Janis Joplin would pick up on in her days after Big Brother & the Holding Company, as this was also the first imprint that Joplin & the Holding Company recorded for professionally. Jimmy Webb's "I Keep It Hid" starts things off. A rendition of Fred Ebb and John Kander's tune, "Maybe This Time" from the motion picture Cabaret, is included along with three compositions from "Sunny" author Bobby Hebb. The collection of material from Webb, Ebb, and Hebb is actually genius A&R because all of it is a perfect fit. Northern soul fans and R&B critics are aware of this hidden treasure, but the buildup in this review of all the magnificent trappings shouldn't overshadow the fact that Alice Clark delivers the goods from start to finish. Some call it acid jazz, but truth be told, beyond the cult niches of space age bachelor pad and Northern soul — the base that keeps obscure gems such as this bubbling on a variety of radar screens — this is some of the best R&B you've probably never heard. The trifecta of Bobby Hebb songs include "Don't You Care" and "Hard, Hard Promises," two titles Hebb has yet to release on his own. The third is an up-tempo version of "The Charms of the Arms of Love" which concluded his 1970 album Love Games. Clark rips apart "It Takes Too Long to Learn to Live Alone" in wonderful fashion with tasteful guitar, chirping horns, and restrained vibraphone. Juanita Fleming's "Never Did I Stop Loving You" is just brilliant as the vocals take off into different dimensions inside and between the unique melody. The final track,"Hey Girl," is not the famous Carole King/Freddy Scott hit — it's a true find originally covered by Donny Hathaway and written by Hathaway's percussion player, Earl DeRouen. Here Clark changes it to "Hey Boy" in a lively, jazz-heavy jaunt which concludes the Toshiba/EMI version of this dynamite set of recordings that should have made Alice Clark a superstar.

Get the lady here
Alice_Clark_-1972_-Alice_Clark.rar

Sunday, February 10, 2008

Love Peace & Happiness - 1971 - Love Is Stronger

Big full sounding soul produced by Harvey Fuqua. Sort of in the hippie soul vein, but much more soul than hippie. Excellent and invigorating music that will lift the spirits of any jaded cynic.

A solid last hurrah for Love, Peace & Happiness, the least successful of the New Birth conception created by Vernon Bullock. The trio consisted of a vocal dynamo named Anne Bogan (Challengers, Marvelettes), and Melvin & Leslie Wilson (New Birth), this LP should have been their breakthrough. The trio, along with Harvey Fuqua, wrote the lion's share of the songs. The only one to get much play was "Strip Me Naked." The rest is a decent collection of tracks that, unfortunately, went nowhere on the charts.

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

Tracks

A1. Love Is Stronger Far Than We 5.38
A2. Only You 3.18
A3. Overlooked Generation 3.38
A4. Don’t take Your Love From Me 5.14
B1. Unborn Child 4.12
B2. Strip Me Naked 4.08
B3. You’ve Got To Be The One For Me 3.55
B4. Don’t Blame The Young Folks (For The Drug Society) 3.18
B5. Lonely Room 4.21

I’d never heard of Love, Peace & Happiness before stumbling across their record one day at the Groove Merchant. Harvey Fuque did the production for the three-piece vocal Soul outfit that featured the brothers Melvin and Leslie Wilson plus Ann Bogan from Michigan. The whole album is enjoyable from beginning to end with Love Is Stronger Far Than We that builds up until becoming a great shouter of a Soul tune by the end, the inspirational (Only You) Message To The Establishment with a chorus of “Only You, Can Make Things Better” about self-empowerment during the 70s, and the Pop oriented and radio friendly You’ve Got To Be The One For Me. Hands down though, the best is the ending Lonely Room with its funky edge.

bio
Ann Bogan (Challengers, Marvelettes), sing now between Mr. Melvin and Leslie Wilson. All three were also members of New Birth. LPH was part of Vernon Bullock's revue concept that Harvey Fuqua made a reality with New Birth, the Nitelighers, and Love, Peace & Happiness. The theory behind the mini revue was that three recording acts working together increased the chances of everybody gigging more, because the odds were greater that at least one of the three would have a hit at any given time. The Nitelighters scored first with "K-Jee," a staple of high school and college marching bands. Then New Birth rattled off a string of dramas that lit up Billboard's R&B chart. But, despite two solid RCA albums and a few singles, LPH never had a hit.

Bogan's blustery contralto complimented the Wilsons equally strong vocals. The three went way back a long ways. Bogan had met the brothers on gospel shows and brought them to her mentor's attention. In addition to admiring her voice — Fuqua recorded a duet with Bogan on Harvey ("Will I Do") — and felt he owed her something. When Motown absorbed Tri-Phi and Harvey, the Challengers became Motown artists. But only Junior Walker & the All-Stars, and to lesser degrees, Shorty Long and the Spinners received any attention

When RCA released their first single, "Don't Blame the Young Folks," in 1970, it marked Bogan's eighth year in show biz. Eight financially rough years. The Challengers' recordings, "Honey," "Stay With Me," and "I Hear an Echo," were under-financed and didn't have a chance. When Bogan became a mom, her mom insisted she raised her own kids; i.e., give it up (show business), it hasn't gotten you anywhere. She didn't travel with the show and Fuqua wired her money to get to wherever they were playing. Sometimes she made it; but often she didn't, which added another nail in the groups' coffin.

After a few more singles, "Strip Me Naked" and a rendition of Gladys Knight & the Pips' "I Don't Want to Do Wrong," they disbanded. The Wilson brothers remained the key ingredients in New Birth, and Ann Bogan settled into a secure nine-to-five J-O-B in Cleveland. LPH's two RCA albums, Love Is Stronger (1971) and Here T'Is (1972), ought to be on a CD.

Get it here

Love_Peace___Happiness_-1971-_Love_Is_Stronger.rar

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Thursday, February 7, 2008

Made In USA - 1977 - Made In USA

An obscure funky soul band -- with a sound that's got touches of disco, but which is mostly uptempo soul with female lead vocals. Funky backing, and harmony vocals by the male members of the group.

Here is a funky modern soul album by the group 'made in usa' this record is super funky and soulful music backed by sweet vocals. A real bunch of dope tunes on this record.

This is a @320 vinyl rip of my original De-Lite record with covers.

Tracks

A1 Never Gonna Let You Go (5:02)
A2 Try Once More (4:15)
A3 Sexy Lady (4:26)
A4 Try To Find A Way (3:17)

B1 Melodies (4:49)
B2 I Don't Want Live With You (3:55)
B3 Gotta Get A High (5:25)
B4 Shake Your Body (4:03)
B5 Melodies (Instrumental) (2:40)

"Sexy Lady" is the track that stands out from this full packed LP, notably for it's Strikers/Crown heights affair feel, funky, sexy, groovy and even funny, it isn't known if an extended 12" version was issued but LP version is satisfying, also similar in feel but, with a lower beats per minute count is "Shake your body" featuring the vocals of Jann Harrison the only female member of the group who also sings on most of the other tracks that are different in feel, a little less funky, a little more soft disco but enjoyable nevertheless, their biggest hit was "Melodies" included on the original LP.

Made In USA (Made In Unity, Strength Ambition) formed in 1975 and only stayed together a few years. Freida Nerangis and Britt Britton hand-picked the self- contained unit with the help of Brooklyn native and alto sax player, Darryl Gibbs. The other members, also from Brooklyn were Jann Harrison (vocalist), Willie Slaughter (bass), Herbert Aikens (tenor sax), Kevin Hood (keyboards), Charles Morais (guitar), Ruben Faison (alto sax), and Greg Henderson (trumpet). Harrison, a statuesque beauty had sung with the Exciters, most of the others had worked with a variety of artists including Ben E. King, Ecstacy, Passion & Pain, and Joe Bataan. Their first and only LP Melodies hit the streets in 1977. It was a true indicator of the groups' skills, and contained no overdubs, or extra musicians because it was important to them to be able to duplicate their recordings live. Nerangis and Britton composed most of the songs including the title track "Melodies." The single sold well in New York and Florida but deflated like a pricked balloon when De-Lite experienced distribution problems. A follow up "Shake Your Body," fail to shake up the charts. Disco ruled, but for some reason the group had problems finding work in the many venues in the Big Apple. With no gigs or hit records to keep the spark glowing, the members disbanded.

Get it here

Made_In_USA_-1977-_Made_In_USA.rar

Tuesday, February 5, 2008

Maxine Weldon - 1975 - Alone On My Own

Another one of those artist who had no success back at the glory days of soul and funk. But the lady had a voice....

At the same style like Marlena Shaw and Esther Phillips (work on the Kudu label during the early 70s) with jazz and blues influences.

This is a @320 Vinyl rip of my original Monument record with covers.

Tracks

A1 Alone on My Own
A2 Night Prayer
A3 Where's the One?
A4 Are You Coming Home Again?
A5 Lend Me Your Life
A6 Storms of Troubled Times

B1 I Want Sunday Back Again
B2 I'll Build a Stairway to Paradise
B3 My Way
B4 But Beautiful
B5 Someone Loves You Honey

One of those endlessly versatile vocalists who eventually earn the tag "song stylist," Maxine Weldon is equally at home singing soul, jazz, or blues, and often blurs the lines between all of them. Weldon cut her first LPs, Right On and Chilly Wind, for Mainstream over 1970-1971; despite an overall soul flavor, she received significant support from members of the Jazz Crusaders, among others. Weldon next turned up on the Monument label with 1974's Some Singin', a Southern-style country-soul outing that nonetheless bore the hallmark of Weldon's innate sophistication. It became her biggest seller, climbing into the Top 50 on the R&B album charts. She followed it in 1975 with Alone on My Own, but concentrated much less on recording in the years to come. Weldon remained active, though, performing regularly over the next several decades. She was a cast member of the Broadway show Black and Blue, touring with the European production from 1995-1997, and subsequently put together a revue called "Wild Women Blues" with singer Linda Hopkins.

Get it Here :

Maxine_Weldon_-1975-_Alone_On_My_Own.rar

Sunday, February 3, 2008

David Shire - 2010 Original Soundtrack

David Shire is among my top-notch composers. His music for films such as Coppola's "The Conversation" is truly great and shows his unbelievable ability to write themes that haunt you for ages. 2010 is an eighties sci-fi film with Roy Scheider. For the soundtrack, Shire uses synthesisers and other electronic devices of the time and, although I am not really into this kind of sound (I usually prefer "real" instruments, you see), the results are amazing. Apart from Strauss' well-known "Thus Spoke Zarathustra (in which Shire employs Police's Andy Summers for the guitar parts), the rest is atmospheric incidental music; yet it stands proudly on its own, without the need of watching the film.

I ripped the album from the original vinyl (which I bought for as much as 13 Euros) and I also scanned the cover. The only problem is that my scanner is too small for a vinyl cover to fit in, so I scanned the front cover in two parts. If any of you knows how to overlap them into a single cover, please do so and send me a link of the jpg, if possible.

Rip is 320kbps
RapidShare or SendSpace
Cover

Enjoy !!!

Friday, February 1, 2008

The Masqueraders - 1975 - Everybody Wanna Live On

A stellar vocal group who recorded some excellent singles in the 60s, and were fortunate enough to be pulled into the big time by Isaac Hayes for his Hot Buttered Soul imprint on ABC! The band mixes their smooth Memphis style with some tighter arrangements by Lester Snell.

A wonderful album ripped @256 from my original vinyl with covers.

Label: ABC Records
Catalog#: ABCD-921
Format: Vinyl, LP
Country: US
Released: 1975

Tracklisting:
A1 Everybody Wanna Live On (8:35)
A2 Please Don't Try (To Take Me Away To The Sky) (4:32)
A3 (Call Me) The Travelling Man (6:53)
A4 Listen (4:14)

B1 Baby It's You (6:38)
B2 Sweet Sweetning (4:12)
B3 (My Love For You Is) Honest And True (6:29)
B4 Your Sweet Love Is A Blessing (6:07)

1
The Masqueraders had been around since the early '60s, releasing singles for labels such as Bell, Wand, and Chips Moman's Memphis-based AGP. In the '70s, the group released two singles for Hi Records, then this 1975 album debut. Everybody Wanna Live On benefited from the subtle and innovative production values of Isaac Hayes; the title track is a powerful dance number that boasts not quite didactic lyrics and Jones' patented robust vocals. Although the group excelled at mid-tempo material, like the hooky "Please Don't Try (To Take Me Up to the Sky)," what typified the Hayes/Masqueraders alliance was mature and thoughtful ballads. One track in particular stands out, the dream-like "(Call Me) The Traveling Man," boasting both a poignant arrangement and a perfect performance from Jones. "(My Love For You Is) Honest And True" and "Your Sweet Love Is a Blessing" also mine ballad territory, both exhibiting the group's strong harmonies and commitment. Everybody Wanna Live On represents the sublime pairing of the right group with a sympathetic producer, and the results are highly skilled

2
The first single in '75 was a newly arranged, almost unrecognizable cover of the '62 Shirelles hit (by Bacharach-Davis-Williams), Baby It's You (# 76 - soul). This slowie was backed with an almost inspirational beater called Listen.
The succeeding album - the very first one since the group was formed eighteen years earlier - Everybody Wanna Live On, was produced and arranged by Isaac, recorded at Hot Buttered Soul recording studio in Memphis and orchestrated by Lester Snell. Rhythm and horns were provided by the Movement, strings and other horns by Memphis Symphony Orchestra and all the songs, except Baby It's You, were written by the Raders.

From the lot of nice and catchy movers (Everybody Wanna Live On) and fine harmony ballads (Honest And True) for the next single they picked up a classy ballad titled (Call Me) The Traveling Man (# 32-soul / #101-pop), backed with a dancer called Sweet Sweetning. The third single culled from the album was another quality slowie, Your Sweet Love Is A Blessing, which was flipped by a heavy mid-pacer named Please Don't Try (To Take Me Away To The Sky), but it didn't chart anymore.

Between the albums the group was approached by Mr. Kenny Gamble.
“he invited us into the studio, but we didn't go, because we were loyal to Isaac and we had a hit. But had we known that Isaac was in the process of filing bankruptcy, we would have went to Kenny”

Get it here
masqueraders_-_1975-_everybody_wanna_live_on.rar

January 2008

2008-01-24T03:30:00.000-08:00

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
11 comments Labels: M, nikos1109
Links to this post

Monday, January 28, 2008

We Are Back !!!

Lost In Tyme has recently been attacked and warned about some of the albums posted in the blog while at the same time several posts have been deleted.

It is at least funny nowadays for someone to claim artists lose money by our posts.
Firstly because the decrease in the sales of cd’s has started long before and secondly because most of the albums are vinyls which are not released any more.

We are sure that these artists are proud, we tried to put them again in the map and literally been advertised (We know that from numerous comments from them). Also a great number of visitors of our blog buy the albums after they’ve listened to.

Things don’t change. Sharing music has been a common grand for so many years now. It is important also to say that we don’t get anything, not even a single cent. we have neither commercials nor profits.

On the contrary we’ve made a small encyclopedia with important albums from different kinds of music.

It is something we want to offer to the next generation.

And so we’ll go on.
We feel strong enough by the support of our visitors. All this time we were devoted to save all the posts. So it doesn’t matter if they are deleted as we’ll post them again.

Even if the whole blog is deleted we’ll have the same the next morning.
We are determined to keep up the good work encouraged by all these messages received.

We feel we own it to you and to ourselves.

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.

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'

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 !

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

Download It Here :
rapidshare.com/files/mann___herbie_-_memphis_underground.rar