Saturday, March 31, 2007
The Poets Of Rhythm - What Goes 'Round
The Poets Of Rhythm - What Goes 'Round
01 Funky Runthrough, Pts. 1-2 (4:35)
02 More Mess on My Thing (4:10)
03 Funky Train (4:46)
04 Practice What You Preach (3:25)
05 Choking on a Piece of Meat (2:24)
06 North Carolina (2:49)
07Upper Class (3:38)
08 Strokin' the Grits (4:13)
09 The Plan (3:04)
10 What You Doing (3:33)
11 Hotpie's Popcorn, Pt. 1 (3:45)
12 Saltin' the Soup (4:10)
13 It Came Over Me (3:26)
The bad news about this German funk ensemble is that it's shamelessly rewriting James Brown. But that's also the good news -- after all, Brown himself isn't doing it anymore, and a world without this sort of raw, horn-heavy, hip-shaking funk is no kind of world for anyone to have to live in. So really, to acknowledge that there's not a single original horn stab, guitar cluck, vocal grunt, or rimshot to be found anywhere on this album is not to criticize it, but to celebrate it. The majority of this program is a reissue of the band's 1993 release, Practice What You Preach; two additional tracks were previously issued as part of the 1995 compilation Original Raw Soul, Vol. 1. As you might expect, there's no discernible difference in sound or style between the two periods; every song is a straightforward throwback to James Brown's glory days in the 1960s, with intricate cross-rhythms bobbing and weaving around the funky horn lines and singers shouting catch phrases and exhortations to the band. Only the two slow tunes -- an awful number called "What You Doing" and a marginally better one titled "It Came Over Me" -- drag the proceedings down. Recommended overall.
~ Rick Anderson, All Music Guide
Bio
German funk band Poets of Rhythm began in Munich after friends Boris Geiger and Jan Weissenfeldt were first exposed to the raw funk that came out of the U.S. in the late '60s and early '70s. Soon, they decided to form their own group, and with Geiger on percussion and vocals, Weissenfeldt on guitar, his brother Max on drums, and Jan Krause on bass, they started writing their own material. After releasing their first single, "Funky Train," in 1992, the Poets' (who had by now added Till Sahm on organ, Michael Voß on trumpet, and Malte Müller-Egloff on alto sax) debut full-length, Practice What You Preach, came out (it was later reissued in 2006 on Daptone). More 7"s came in the following years, though they were often credited to groups like the Pan-Atlantics, Organized Raw Funk, Bus People Express, the Woo Woo's, and the Soul-Saints Orchestra.
Though the bandmembers had already begun to make a name for themselves in Europe thanks to their brand of hard funk that was heavily indebted to important outfits like the Meters and Parliament, they had yet to have much exposure in the States. That changed when Quannum's Lyrics Born found one of their singles in a record store in New Orleans and was impressed by what he heard, though he knew nothing about the group. By chance, when Latyrx's debut came out in 1997, LB got into contact with Jan Weissenfeldt, who was distributing The Album in Germany. The next year, when the MC was looking to record solo material, he went to the Poets of Rhythm for backup help and in 1999 "I Changed My Mind," a minor hit in the Bay Area, came out. The Poets' true sophomore record (they had issued label "compilations," which mostly consisted of tracks from their various incarnations), Discern/Define, featured nearly the same lineup as before -- Wolfgang Schlick took over on sax and added flute as well -- was released on Quannum in 2001. What Goes 'Round came out the following year on Shadow, and the band also showed up on the song "The Bay" from Lyrics Born's 2005 album, Same !@#$ Different Day.
~ Marisa Brown, All Music Guide
01 Funky Runthrough, Pts. 1-2 (4:35)
02 More Mess on My Thing (4:10)
03 Funky Train (4:46)
04 Practice What You Preach (3:25)
05 Choking on a Piece of Meat (2:24)
06 North Carolina (2:49)
07Upper Class (3:38)
08 Strokin' the Grits (4:13)
09 The Plan (3:04)
10 What You Doing (3:33)
11 Hotpie's Popcorn, Pt. 1 (3:45)
12 Saltin' the Soup (4:10)
13 It Came Over Me (3:26)
The bad news about this German funk ensemble is that it's shamelessly rewriting James Brown. But that's also the good news -- after all, Brown himself isn't doing it anymore, and a world without this sort of raw, horn-heavy, hip-shaking funk is no kind of world for anyone to have to live in. So really, to acknowledge that there's not a single original horn stab, guitar cluck, vocal grunt, or rimshot to be found anywhere on this album is not to criticize it, but to celebrate it. The majority of this program is a reissue of the band's 1993 release, Practice What You Preach; two additional tracks were previously issued as part of the 1995 compilation Original Raw Soul, Vol. 1. As you might expect, there's no discernible difference in sound or style between the two periods; every song is a straightforward throwback to James Brown's glory days in the 1960s, with intricate cross-rhythms bobbing and weaving around the funky horn lines and singers shouting catch phrases and exhortations to the band. Only the two slow tunes -- an awful number called "What You Doing" and a marginally better one titled "It Came Over Me" -- drag the proceedings down. Recommended overall.
~ Rick Anderson, All Music Guide
Bio
German funk band Poets of Rhythm began in Munich after friends Boris Geiger and Jan Weissenfeldt were first exposed to the raw funk that came out of the U.S. in the late '60s and early '70s. Soon, they decided to form their own group, and with Geiger on percussion and vocals, Weissenfeldt on guitar, his brother Max on drums, and Jan Krause on bass, they started writing their own material. After releasing their first single, "Funky Train," in 1992, the Poets' (who had by now added Till Sahm on organ, Michael Voß on trumpet, and Malte Müller-Egloff on alto sax) debut full-length, Practice What You Preach, came out (it was later reissued in 2006 on Daptone). More 7"s came in the following years, though they were often credited to groups like the Pan-Atlantics, Organized Raw Funk, Bus People Express, the Woo Woo's, and the Soul-Saints Orchestra.
Though the bandmembers had already begun to make a name for themselves in Europe thanks to their brand of hard funk that was heavily indebted to important outfits like the Meters and Parliament, they had yet to have much exposure in the States. That changed when Quannum's Lyrics Born found one of their singles in a record store in New Orleans and was impressed by what he heard, though he knew nothing about the group. By chance, when Latyrx's debut came out in 1997, LB got into contact with Jan Weissenfeldt, who was distributing The Album in Germany. The next year, when the MC was looking to record solo material, he went to the Poets of Rhythm for backup help and in 1999 "I Changed My Mind," a minor hit in the Bay Area, came out. The Poets' true sophomore record (they had issued label "compilations," which mostly consisted of tracks from their various incarnations), Discern/Define, featured nearly the same lineup as before -- Wolfgang Schlick took over on sax and added flute as well -- was released on Quannum in 2001. What Goes 'Round came out the following year on Shadow, and the band also showed up on the song "The Bay" from Lyrics Born's 2005 album, Same !@#$ Different Day.
~ Marisa Brown, All Music Guide
Labels: Lost-In-Tyme, P Links to this post 
Thursday, March 29, 2007
Curtis Mayfield - 1971 - Roots
There's a perfect mix of heartbreaking vocals, and tight funky grooves.
One of Soul's most classic albums. Featuring timeless cuts like "Beautiful Brother Of Mine," "Keep On Keeping On," and "Get Down," this album is outstanding from start to finish.
After leaving his position as leader of the Impressions, one of the most successful black vocal groups of the 1960s, Curtis Mayfield made progressive and highly influential funk/R&B records, most notably the soundtrack to the cult movie SUPERFLY. His unique, simultaneous rhythm/lead guitar style and fragile falsetto vocals have been much imitated but never duplicated.
Tracks
1 Get Down (5:45)
2 Keep on Keeping On (5:08)
3 Underground (5:15)
4 We Got to Have Peace (4:44)
5 Beautiful Brother of Mine (7:23)
6 Now You're Gone (6:50)
7 Love to Keep You in My Mind (3:48)
2 Keep on Keeping On (5:08)
3 Underground (5:15)
4 We Got to Have Peace (4:44)
5 Beautiful Brother of Mine (7:23)
6 Now You're Gone (6:50)
7 Love to Keep You in My Mind (3:48)
Chart Year Chart position
Pop Albums 1971 #40
Black Albums 1971 #6
The Reviews
1
Curtis Mayfield's visionary album, a landmark creation every bit as compelling and as far-reaching in its musical and extra-musical goals as Marvin Gaye's contemporary What's Goin' On. Opening on the hit "Get Down," the album soars on some of the sweetest and most eloquent - yet driving - soul sounds heard up to that time. Mayfield's growing musical ambitions, first manifested on the Curtis album, and his more sophisticated political sensibilities, presented with a lot of raw power on Curtis Live!, are pulled together here in a new, richer studio language, embodied in extended song structures ("Underground"), idealistic yet lyrically dazzling anthems ("We Got to Have Peace," "Keep On Keeping On," and, best of all, the soaring "Beautiful Brother of Mine"), and impassioned blues ("Now You're Gone"). The music is even bolder than the material on the Curtis album, with Mayfield expanding his instrumental range to the level of a veritable soul orchestra; and the recording is better realized, as Mayfield, with that album and a tour behind him, shows a degree of confidence that only a handful of soul artists of this era could have mustered.
2
2
While he may have produced consistently great, intellectual and popular music throughout his entire career, Curtis Mayfield was on a creative roll in the early to mid 70's, and "Roots" is one of his strongest efforts. While not quite as stunning in it's epic sweep as the flawless "Curtis", or as hard-hitting as the best moments on "Superfly", "Roots" is nonetheless a great LP.
From the opener, "Get Down" and the ultra-funky "Underground" to my favorite track, the ghostly sounding "Beautiful Brother of Mine", this second solo outing is a feast for the ears.
Mayfield would completely explode the possibilities of his medium and alter black pop forever the following year with "SUPERFLY", but for the time being he was content to soften his preachiness a tad with this release, and we, the lucky listener, reap all the benefits. A Classic.
From the opener, "Get Down" and the ultra-funky "Underground" to my favorite track, the ghostly sounding "Beautiful Brother of Mine", this second solo outing is a feast for the ears.
Mayfield would completely explode the possibilities of his medium and alter black pop forever the following year with "SUPERFLY", but for the time being he was content to soften his preachiness a tad with this release, and we, the lucky listener, reap all the benefits. A Classic.
3
This man stays on my mind all the time. I have to admit, "We the People Who Are Darker Than Blue" is the jam on this album with its breathtaking strings and rhythm section that sends chills up my spine. It is the jam right along with "Wild and Free". This particular album went platinum cause it was consistent from one song to the next, had a common theme that is shared (being black in today's society and love among mankind)and last, the album had actual musicians playing on this record and not the computerized music we hear today. Just listen to this record all the way through and you won't be disappointed at all. You get your money's worth with this guy. Curtis puts out quality material and he is never sounds rushed.
Download Link :
Labels: C, M, nikos1109 Links to this post
Wednesday, March 28, 2007
D.J. Rogers - 1976 - On The Road Again
A soul classic that's unfortunately still buried in album-bin oblivion.
I had it only on mp3 but today i received the vinyl from USA.
In 2001, it was included in the best 100 soul albums of all time by Mojo Magazine.
Tracks
1. On The Road Again 3.27
2.One More Day 4.14
3. Love Can Be Found 2.58
4. Let My Life Shine pt1 2.09
5. Let My Life Shine 4.10
6.Secret Lady 3.33
7. Holding On to Love 2.57
8.Girl I Love You 3.53
9. Only While It Lasts 3.36
10. Say You Love Me, One More Time 2.19
Classic work from the great DJ Rogers with a soaring, sweeping, righteous soul feel that reminds us of Rance Allen at his best, or of some of the smooth work of Lamont Dozier from the same time. DJ wrote, arranged, and produced all the tracks on this album, and the cuts have a slight nod towards spiritual gospel, with excellent jazzy touches that keep things in a modern vein
D.J. Rogers' LP On the Road Again featured the single "Let My Life Shine." With a dazzling arrangement by Jerry Peters, the single managed to chart RB in the fall of 1976, as it lyrically touched on the theme of the gospel standard "This Little Light of Mine." Other standouts are "One More Day," "Love Can Be Found," "Secret Lady," "Holding On," and "Only While It Lasts."
If you love Luther Vandross, then you will simply adore Mr. DJ Rogers, as Luther, DJ Rogers is also a tenor, with an smooth incredible range. DJ Rogers balladry, simply put must heard, it reaches the heart and kidney. DJ Rogers has been truly blessed by the True God to sing.
Download Link :
dj_rogers__1976__-_on_the_road_again.rar
Labels: D, nikos1109, R Links to this post
Tuesday, March 27, 2007
Jacob Miller & Inner Circle - Reggae Greats
1. Shaky Girl
2. Tenement Yard
3. Suzy Wong
4. Sinners
5. Healing Of The Nation
6. 80000 Careless Ethiopians
7. I've Got The Handle
8. Tired Fe Lickweed In A Bush
9. Roman Soldiers Of Babylon
10. Standing Firm
11. All Night 'til Daylight
12. Forward Jah Jah Children
At age 10, Jacob Miller knew that he would become a singer- Jacob born May 4, 1952, in the cool hills of Mandeville, central Jamaica
While attending Melrose High School, Miller hung out at popular studios around the music capitol. Augustus Pablo, a good friend, musician and producer took Miller around to several Kingston studios. He introduced the young singer to Reggae's leading producers-" Sir" Coxsone Dodd, Joe Gibbs and King Tubby. Miller's first release
Miller's confidence and ability-supported by a sense of humor and unhindered frankness-led him to an audition with Inner Circle on Kingston's famous RedHills Road.
The group consisting of Roger Lewis (guitar), Ian Lewis (bass), Bernard "Touter" Harvey (keyboards) and Rasheed McKenzie (drums)-added "Jacob the jester" to it's strong line-up.
Inner Circle, featuring Jacob "Killer" Miller, was signed to Capitol Records in 1977. The first album was Reggae Thing, followed by Ready for the World. Both Albums achived international acclaim for hard-driving rhythms, outstanding arrangements and heartfelt lyrics. The group had become a force in Jamaica, taking charge musically along with Bob Marley, Dennis Brown, Bunny Wailer, Third World, Gregory Isaacs, and Peter Tosh. The famous 1978 Peace concert, held at the National Stadium in Kingston, was one of the high points of Jacob Miller and Inner Circle's career. Standing side-by-side to Bob Marley and Peter Tosh, Inner Circle was hailed as the top performers for the evening. After the memorable Peace Concert, Island Records founder Chris Blackwell approached Miller and Inner Circle to offer a recording deal. The third album, Everything is Great, was released on Island in 1979 and sold over half million copies in Europe. The title track reached the top10 in France's National Charts and No. 20 in England.
He was also greatly influenced by his relationships with the leading musicians of his time-an illustrious group that included Dennis Brown, Ken Boothe, Bob Andy, Jackie Mittoo, Carlton and the shoes, and the Heptones, to name a few. This is where and when his musical future began to unfold, until his untimely death on March 23,1980. Tragically, the car Miller was driving along Hope Road struck a pole, promptly ending his short yet promising singing career.
Download it Here :
http://rapidshare.com/files/23048218/jacob_miller.rar
2. Tenement Yard
3. Suzy Wong
4. Sinners
5. Healing Of The Nation
6. 80000 Careless Ethiopians
7. I've Got The Handle
8. Tired Fe Lickweed In A Bush
9. Roman Soldiers Of Babylon
10. Standing Firm
11. All Night 'til Daylight
12. Forward Jah Jah Children
At age 10, Jacob Miller knew that he would become a singer- Jacob born May 4, 1952, in the cool hills of Mandeville, central Jamaica
While attending Melrose High School, Miller hung out at popular studios around the music capitol. Augustus Pablo, a good friend, musician and producer took Miller around to several Kingston studios. He introduced the young singer to Reggae's leading producers-" Sir" Coxsone Dodd, Joe Gibbs and King Tubby. Miller's first release
Miller's confidence and ability-supported by a sense of humor and unhindered frankness-led him to an audition with Inner Circle on Kingston's famous RedHills Road.
The group consisting of Roger Lewis (guitar), Ian Lewis (bass), Bernard "Touter" Harvey (keyboards) and Rasheed McKenzie (drums)-added "Jacob the jester" to it's strong line-up.
Inner Circle, featuring Jacob "Killer" Miller, was signed to Capitol Records in 1977. The first album was Reggae Thing, followed by Ready for the World. Both Albums achived international acclaim for hard-driving rhythms, outstanding arrangements and heartfelt lyrics. The group had become a force in Jamaica, taking charge musically along with Bob Marley, Dennis Brown, Bunny Wailer, Third World, Gregory Isaacs, and Peter Tosh. The famous 1978 Peace concert, held at the National Stadium in Kingston, was one of the high points of Jacob Miller and Inner Circle's career. Standing side-by-side to Bob Marley and Peter Tosh, Inner Circle was hailed as the top performers for the evening. After the memorable Peace Concert, Island Records founder Chris Blackwell approached Miller and Inner Circle to offer a recording deal. The third album, Everything is Great, was released on Island in 1979 and sold over half million copies in Europe. The title track reached the top10 in France's National Charts and No. 20 in England.
He was also greatly influenced by his relationships with the leading musicians of his time-an illustrious group that included Dennis Brown, Ken Boothe, Bob Andy, Jackie Mittoo, Carlton and the shoes, and the Heptones, to name a few. This is where and when his musical future began to unfold, until his untimely death on March 23,1980. Tragically, the car Miller was driving along Hope Road struck a pole, promptly ending his short yet promising singing career.
Download it Here :
http://rapidshare.com/files/23048218/jacob_miller.rar
Labels: I, innocent76, J, M Links to this post
Monday, March 26, 2007
Jestofunk - 1995 - Love In A Black Dimension
Tracklisting:
01 Intro (0:58)
02 Can We Live (6:21)
Featuring : Ce Ce Rogers
03 Fluid (7:18)
04 Find Your State Of Mind (5:48)
05 Say It Again (6:48)
06 Straight To You (6:01)
07 Fly Love Song (5:26)
08 For Your Precious Love (5:37)
09 Moai Message (6:56)
10 The Ghetto (7:04)
Featuring : Ce Ce Rogers , Fred Wesley
11 Dance To The Music (5:31)
12 I'm Gonna Love You (5:45)
13 Theme From JFK (6:14)
MOZART (aka Claudio Rispoli) from the Riviera of Romagna (Rimini), beside his own DJ skill "Afro" style, is well known for productions hit the cult status on the Dance scene in the past years. Some of this productions have been released in Italy and climbed the charts all over the World: Double Dee "Found Love" and Soft House Company "A little piano/What you need" just to name a few.
BLADE (aka Alessandro, Staderini), from Tuscany, is very well known in the UK for his productions on the Amoco label, "Talkin' about the Power" was a huge hit in the underground scene in UK and in the US.
KEKKO FARIAS, from the Riviera as well, he released other projects with Mozart under the name The Last Minister, "Tribute to the Family" has been recently selected has the only not English track for the official Compilation for the last Breakdance World Championship.
Where does JESTOFUNK come from :
Since the beginning, the project Jestofunk started with an International view. The first single, "I'm gonna love you" (1992) received great feedback from the Dj's, especially in the UK and US. The originality of the sound immediately became the trade mark of the band. With the second single, "Say it again" (1993), starts the collaboration with Ce Ce Rogers, one of the most prestigious voices of the House scene in the US, the single was licensed in different countries in Europe, and specially in France became a great hit climbing the top of the charts. The following year (1994), the third single, was released featuring once again the powerful voice of Ce Ce Rogers, followed few months later by the release of their first album "Love in a Black Dimention". In 1999 CeCe Rogers decided to leave Jestofunk and start his own project called CeCe Roger's Nuphunk.
The Music of JESTOFUNK :
The Groove is a perfect example of a fusion between the DJ style and the live instrumentation, connected with the Afroamerican side of contemporary music. Jestofunk arrives to this second album after a six years itinerary through Jazz, Funk, Soul and the most experimental sounds generated for the Dancefloor. Their music theorizes a Universal language without boundaries, going back and forth from the most hypnotic atmospheres to the contemporary sound.
"Love In A Black Dimention"
An irresistible mix of Funk, Soul, R&B and House music. Very special guests are featured on the album : Fred Wesley, from the JB's, James Brown sidekicks and Ce Ce Rogers.
Can We Live @ YouTube
Labels: J, Lost-In-Tyme Links to this post
Harold Melvin & The Blue Notes - 1975 - Wake Up Everybody
Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label.
Despite Melvin's billing out front, the Blue Notes' focal point was lead singer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound.
Tracks
1 Wake Up Everybody (7:32)
2 Keep on Lovin' You (3:41)
3 You Know How to Make Me Feel So Good (5:16)
4 Don't Leave Me This Way (6:03)
5 Tell the World How I Feel About 'Cha Baby (5:52)
6 To Be Free to Be Who We Are (5:08)
7 I'm Searching for a Love (5:23)
1 Wake Up Everybody (7:32)
2 Keep on Lovin' You (3:41)
3 You Know How to Make Me Feel So Good (5:16)
4 Don't Leave Me This Way (6:03)
5 Tell the World How I Feel About 'Cha Baby (5:52)
6 To Be Free to Be Who We Are (5:08)
7 I'm Searching for a Love (5:23)
The Reviews
1
This record is a clean burn. It's the Philly sound with a bit more black gospel influence than you hear on most of the records their contemporaries released. Theodore Pendergrass (now Teddy) growls and croons with magnificent ease and great feeling. This record just knocks your socks off. "Wake Up Everybody" is so uplifting... and the absolute original version of "Don't Leave Me This Way" just cooks and slides and rumbles. What a great record. This is a true classic in its genre.
2
Harold Melvin and the Bluenotes with Teddy Pendergrass and Sharon Paige give us an album that you can listen to, dance fast or slow to, and sing along with. This is a classic album magnificently executed vocally and technically. Teddy is at his best, and his duet with Ms. Paige is still one of my all time favorites. These people are real singers, artists! and the Bluenotes in the background are pitch perfect. It's the music I grew up listening and dancing to and it still resonates in such a positive, upbeat way. When I play this disk, my guests all sing along or dance, or both!
3
Even though Harold Melvin & the Blue Notes were an R&B group with much soul, the message in their music was truly profound, uplifting, thought-provoking, and full of love. This album featured only two singles. The title track is a plea to the world to come together and rid the society of all its ills. Written by the prolific writing team of McFadden/Whitehead/Carstarphen, it conveys a message in line with the ideology of the album's producers. The connection felt when listening to the song permeates the soul, leading one to think about making a change. This is a very moving song. It held on to the number one spot on the Billboard R&B charts for two consecutive weeks. The aggressive arrangement of "Tell the World How I Feel About 'Cha Baby" carried it to number seven on the charts. Other notables are "Keep on Lovin' You," "To Be Free to Be Who We Are," and "I'm Searching for a Love." Sharon Paige is featured on the balladic flow of the latter. "Don't Leave Me This Way" became a disco theme for Thelma Houston. This album was the final chapter of Harold Melvin & the Blue Notes featuring Theodore Pendergrass, who released a solo album the following year.
Labels: H, M, nikos1109 Links to this post
Saturday, March 24, 2007
Bobby "Blue" Bland - Two Steps From The Blues (1957-1960)
AMG: Without a doubt, Two Steps From the Blues is the definitive Bobby "Blue" Bland album and one of the great records in electric blues and soul-blues. In fact, it's one of the key albums in modern blues, marking a turning point when juke joint blues were seamlessly blended with gospel and Southern soul, creating a distinctly Southern sound where all of these styles blended so thoroughly it was impossible to tell where one began and one ended. Given his Memphis background, Bobby "Blue" Bland was perfectly suited for this kind of amalgam as envisioned by producer/arranger Joe Scott, who crafted these wailing horn arrangements that sounded as impassioned as Bland's full-throated, anguished vocals. It helped, of course, that the songs were uniformly brilliant. Primarily from the pen of Deadric Malone, along with Duke head Don Robey and Scott (among others), these are the tunes that form the core of Bobby "Blue" Bland's legend and the foundation of soul-blues: "Two Steps From the Blues," "I Don't Want No Woman," "Cry, Cry, Cry," "I'm Not Ashamed," "Lead Me On," "Little Boy Blue" -- songs so good they overshadow standards like "St. James Infirmary." These are songs that blur the division between Ray Charles soul and Chess blues, opening the doors for numerous soul and blues sounds, from Muscle Shoals and Stax through the modern-day soul-bluesman. Since this, like many blues albums from the late '50s/early '60s, was a collection of singles, it's possible to find the key tracks, even the entire album, on the numerous Bobby "Blue" Bland collections released over the years, but this remains an excellent, essential blues album on its own terms -- one of the greatest ever released.
Labels: B, fuzztunnel Links to this post
Friday, March 23, 2007
Parliament - 1975 - Mothership Connection
Parliament's Mothership Connection is easily the greatest funk album of all time. If you want to listen to music to make you feel good and dance, this is the perfect album.
Mind-blowing. A milestone in funk history... From the spoken intro of 'P. Funk' to the disco vocals of the title track, everything sounded like the ultimate reference in the genre. Each song had been crafted as a timeless classic : never ending jams bursting with multi-layered grooves, thumping basslines, crazy vocal arrangements and George Clinton's hilarious lyrics... It seemed all the musicians involved had the time of their life during the recording. As a result, this was the definitive partying album... Perfection in madness.
Track listing
1. "P-Funk (Wants to Get Funked Up)" 7:41
2. "Mothership Connection (Star Child)" 6:14
3. "Unfunky UFO" 4:23
4. "Supergroovalisticprosifunkstication" 5:03
5. "Handcuffs" 3:51
6. "Give Up The Funk (Tear The Roof Off The Sucker)" 5:46
7. "Night of the Thumpasorus Peoples" 5:10
1. "P-Funk (Wants to Get Funked Up)" 7:41
2. "Mothership Connection (Star Child)" 6:14
3. "Unfunky UFO" 4:23
4. "Supergroovalisticprosifunkstication" 5:03
5. "Handcuffs" 3:51
6. "Give Up The Funk (Tear The Roof Off The Sucker)" 5:46
7. "Night of the Thumpasorus Peoples" 5:10
In 2003 the TV network VH1 named Mothership Connection the 55th greatest album of all time. In 2003, the album was ranked number 274 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The Reviews
1
Parliament was one arm in George Clinton's funk army during the 70s, a large conglomeration of groups and musicians (including Bootsy's Rubber Band, Funkadelic, The Horny Horns and others) dedicated to rewriting the rules of funk, soul and rock. Clinton's bands sounded like James Brown gone mad, partly because of the inclusion of former JB sidemen Bootsy Collins, Maceo Parker and Fred Wesley, but mostly because of the alternate universe they inhabited--a sort of drugged-out traveling sci-fi soul revue. MOTHERSHIP CONNECTION shows why Clinton's formula for funk domination of the free world worked so well. The music is tight and groovy, with heavy bass lines, precise horn runs and ultra-electronic keyboards (provided by Bernie Worrell). The lyrics are often no more than spaced-out spoken word excursions, sounding like Sly Stone reciting Isaac Asimov. And the whole concept and presentation was so totally freaked out that it would catch people off-guard, letting Clinton's teachings and philosophies seep into the unconscious. The most traditionally structured song is a love and bondage number called "Handcuffs," which shows how far Clinton and his P-Funkers had brought funk from the halcyon days of Otis Redding and James Brown. Songs like "P-Funk (Wants To Get Funked Up)" and "Tear The Roof Off The Sucker," with their extended interplay and dazed vocals, helped pave the way for the rise of hip hop as a commercial vehicle.
2
This is my favorite Parliament album. This one just has all the things that make Parliament great. Killer grooves, great choir (funk community?) vocals, etc... Night Of The Thumpasorus Peoples has one of the greatest bass-lines of all time. This is one of those tunes that Parliament could have just vamped on for 25 straight minutes and it would have been perfect. Not to mention the layers of chanting that envelop the tune! That and Unfunky UFO are the two songs that really clinch this album's "best" status for me. The only song on here that I skip over all the time is Handcuffs. That tune just does nothing for me at all. Parliament certainly has other great albums, but this is really THE ONE that makes me wish I had been born earlier than 1975 and been able to see this incredible group in concert
3
In the mid to late 70s, funk stood on two legs. The two legs had names: Parliament and Funkadelic. Which leg was named which is up for debate. However, the legs were of George Clinton, the funk maestro who coined the term P-funk and gave us classics like Atomic Dog and Dr. Funkenstein. Whether P-funk stood for Parliament-Funkadelic, pure funk, or some other funky word is still left unknown, but P-funk was the greatest era of funk. As time went on, the blasting horn sections were replaced with synthesizers and funk became synthesized pop music. However, for a short decade, funk was at the top of its game. Mothership Connection is one of the greatest funk albums of the era.
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Labels: nikos1109, P Links to this post
Tuesday, March 20, 2007
Johnny Bristol - 1974 - Hang On It There Baby
I am truly touch by this music. This man has a voice that combines the sexy Barry White with soulful Bill Withers and blows my mind.
One of my favourite soul albums ever, included in the best 100 soul albums of all time by Mojo Magazine.
Tracks
A1 Woman, Woman 5:08
A2 Hang on in There Baby 3:55
A3 Reachin' Out for Your Love 4:01
A4 You & I 3:41
A5 Take Care of You for Me 3:10
B1 I Got Cha Number 3:19
B2 It Don't Hurt No More 3:35
B3 Memories Don't Leave Like People Do 4:08
B4 Love Me for a Reason 3:41
B5 Woman, Woman (Reprise) 0:42
Biography
Bristol first came to local fame in the Detroit area as a member of the soul duo "Johnny & Jackey" with Jackey Beavers, an associate Bristol met while in the US Air Force. The pair recorded a number of singles for Harvey Fuqua's Tri-Phi record label, none of which were successes beyond the Midwestern United States.
In the mid-1960s, Tri-Phi was absorbed by Motown Records, and Bristol began working with Fuqua as a songwriter and producer. Among Fuqua and Bristol's successes as producers were hit singles such as Marvin Gaye & Tammi Terrell's "Ain't No Mountain High Enough" (1967), "Your Precious Love" (1967), and "If I Could Build My Whole World Around You" (1968); Edwin Starr's "Twenty-Five Miles" (1969); and David Ruffin's "My Whole World Ended (The Moment You Left Me)" (1969). On his own, Bristol co-wrote and produced Gladys Knight & the Pips' "I Don't Want to Do Wrong" (1971) and "Daddy Could Swear, I Declare" (1972), and several singles by Jr. Walker & the All-Stars such as "What Does It Take (to Win Your Love)" (1969).
Notably, Bristol was the producer and co-writer of the final singles for both Diana Ross & the Supremes and Smokey Robinson & the Miracles, before each group lost its namesake lead singerr. While the Miracles' "We've Come Too Far to End It Now" (1972) was an original, the Supremes' "Someday We'll Be Together" (1969) was a cover version of a Johnny & Jackey single from 1961. Bristol is the male voice on the Supremes' version of "Someday We'll Be Together," singing response to Diana Ross' lead vocal (Diana Ross actually recorded the song with session singers replacing the other two Supremes).
In 1973, Bristol left Motown to resume his singing career, joining first with CBS Records and almost immediately moving to MGM Records. For MGM, Bristol recorded several successful albums and singles, and had hits in the mid-1970s with "Hang On In There Baby" (1974, number-eight U.S. pop), "You And I" (1974, number 20 U.S. R&B), and "Leave My World" (1975, number 20 U.S. R&B). He also recorded the original version of "Love Me for a Reason", later a hit for The Osmonds. During the late 1970s and early 1980s, Bristol would record for Atlantic Records, Polydor Records, and several other labels. His biggest hit during this period was a medley of the Motown songs "My Guy/My Girl", recorded as a duet with Amii Stewart in 1980.
Johnny Bristol died in his Brighton Township, Michigan home on 2004, of natural causes, at the age of sixty-five.
The Reviews
1
The prolific Johnny Bristol made his name at Motown as a writer & producer of tracks like Diana Ross & the Supremes' 'Someday We'll Be Together', a song he co-wrote years before. In 1974, he did a successful production assignment for Boz Scaggs & made his solo debut for MGM. In short order, Bristol created an intriguing persona with a patented wry vocal delivery. The title track is a sensual masterpiece that all but summed up his lyrical meter. The infinitely playable & smooth 'You & I' is just as good. 'I Got Cha Number', also on Scaggs' Slow Dancer, has Scaggs coming on to do some fun harmony vocals, but tracks like 'Memories Don't Leave Like People Do' & 'Love Me for Reason' are so-so efforts. This is prime '70s L.A. R&B/pop with Bristol's sure production hand & arrangements by H.B. Barnum. Players include David T. Walker & his singular guitar fills.
2
Under-discovered 70s soul genius from Johnny Bristol -- an artist who's best known for his early work in the Motown studios, but who steps out here as an incredible soul singer in his own right! Johnny's work here has an undeniably funky quality -- a full, rich groove that blends together soaring strings and tighter rhythms -- almost taking a cue from the blacksploitation soundtracks of the time, but focusing that groove into some really tight soul tracks -- sung with a voice that should have made him huge! There's a great blend here of the rough and the smooth -- and the style's almost like mixing together Barry White and Sam Dees -- with the full funky arrangements of the former, and all the great songwriting and vocal delivery of the latter
Download Link :
johnny_bristol_-_1974_-_hang_on_in_there_baby.rar
Labels: B, J, nikos1109 Links to this post
Chris McGregor's Brotherhood of Breath - 1971 - Brotherhood of Breath
Track Listing
1.Mra
2.Davashe's Dream
3.Bride
4.Andromeda
5.Night Poem
6.Union Special
Chris McGregor, a pianist who had formed the Blue Notes in his native South Africa, hatched the idea of the Brotherhood of Breath in his transplanted home of London. The group got its start at the end of the Blue Notes tenure in 1969. This new group was essentially the same band with the addition of several members of the British jazz community. Among the people who were in the Brotherhood were Harry Beckett, Evan Parker, Nick Evans (Keith Tippett Group), Mike Osborn, and Dudu Pukwana (Blue Notes). The first album, Chris McGregor's Brotherhood of Breath, came out in 1971. The album augmented the group's live legend in establishing their reputation as one of the up-and-coming new jazz groups. They released their next album, Brotherhood, in 1972. A live album, Travelling Somewhere, was recorded in 1973, but not released until later. The group dissolved in the mid-'70s.
~ Gary Hill, All Music Guide
Bio :
Chris McGregor was born the son of a Scottish missionary, brought up on church hymns, and Xhosa dances. He studied at the Cape Town College of Music and discovered the black jazz scene. His septet played in the 1962 National Jazz Festival and after founding the Blue Notes in 1963, he led a big band. Harassed by the authorities, they escaped the country through an invitation to the 1964 Antibes Jazz Festival. Fellow expatriate Abdullah Ibrahim helped them find work in Zurich, then at Ronnie Scott's in London, and at the Café Montmartre in Copenhagen. The Blue Notes mixed South African rhythms with free improvisation, an unprecedented fusion that created a completely original, unmistakable style (In Concert, Vol. 1 & 2, Ogun 1978). McGregor's big band Brotherhood of Breath enlarged the Blue Notes with free improvisers (Evan Parker, Trevor Watts, Paul Rutherford). They toured Europe to cheering audiences, but their studio records for RCA in the early '70s weren't adequately promoted. Their exciting and joyous live performances are captured on releases by independent labels Ogun and Cuneiform. Keeping a large unit together became impossible and when McGregor moved into the more comfortable climate of the south of France, the Brotherhood reunited only intermittently and he played with smaller groups or solo (heard on Piano Song, Vol. 1 & 2, Musica 1977, and In His Good Time, Ogun 1978). An Ellingtonian musician, his real instrument being the orchestra, McGregor had a thick, percussive, and yet melodic piano style. A continental big band was reunited in the '80s (Yes Please, In&Out 1981, and Country Cooking, Virgin 1988) and well-received, but failed to fully re-create the excitement of the original band.
~ Francesco Martinelli, All Music Guide
Labels: B, C, Lost-In-Tyme, M Links to this post
Monday, March 19, 2007
V.A. - Sensacional Soul - 2cd (Vampisoul, 2006)
cd1
1. BUENOS, LOS - 'WOOVY GROOVY' / ACCION / EKIPO (1969)
2. SHELLY Y LA NUEVA GENERACION - 'VESTIDO AZUL' / PHILIPS (1968)
3. MARTES 13 - 'ESPEJO ROTO' / ACCION / EKIPO (1971)
4. TONY RONALD - 'SUMMERTIME' / EMI (1969)
5. IMPALA, LOS - 'TODO GIRA' / MARFER (1968)
6. TOP SHOW - 'ESCUCHA NINA' / BELTER (1968)
7. HENRI VIDAL Y SU GRUPO POP - 'BLACK BIRD' / AUDIO (1976)
8. CONJUNTO DON PELEGRIN - 'BEAT GITANO' / BCD (1976)
9. EL FIN - 'VAGANDO EN LAS TINIEBLAS' / MARFER (1968)
10. CONJUNTO NUEVA ONDA - 'GOLDEN SOUL' / AZAR (1976)
11. PRESIDENTS - 'IT'S MY THING' / PENELOPE (1969)
12. ELS 5 XICS - 'RAISING YOUR HAND' / EMI (1969)
13. GRITOS, LOS - 'TUSET STREET' / BELTER (1968)
14. HURACANES, LOS - 'ALGO POR NADA' / BELTER (1969)
15. JOVENES, LOS - 'SIMPATIA EN SOUL' / DISCOPHON (1969)
16. DIXIES, LOS - 'BLACK CAT' / SONOPLAY (1968)
17. GRIMM, LOS - 'WANT MY LOVE AGAIN' / PHILLIPS (1969)
18. Z-66 - 'TRYING TO GET YOU' / EMI (1968)
2. SHELLY Y LA NUEVA GENERACION - 'VESTIDO AZUL' / PHILIPS (1968)
3. MARTES 13 - 'ESPEJO ROTO' / ACCION / EKIPO (1971)
4. TONY RONALD - 'SUMMERTIME' / EMI (1969)
5. IMPALA, LOS - 'TODO GIRA' / MARFER (1968)
6. TOP SHOW - 'ESCUCHA NINA' / BELTER (1968)
7. HENRI VIDAL Y SU GRUPO POP - 'BLACK BIRD' / AUDIO (1976)
8. CONJUNTO DON PELEGRIN - 'BEAT GITANO' / BCD (1976)
9. EL FIN - 'VAGANDO EN LAS TINIEBLAS' / MARFER (1968)
10. CONJUNTO NUEVA ONDA - 'GOLDEN SOUL' / AZAR (1976)
11. PRESIDENTS - 'IT'S MY THING' / PENELOPE (1969)
12. ELS 5 XICS - 'RAISING YOUR HAND' / EMI (1969)
13. GRITOS, LOS - 'TUSET STREET' / BELTER (1968)
14. HURACANES, LOS - 'ALGO POR NADA' / BELTER (1969)
15. JOVENES, LOS - 'SIMPATIA EN SOUL' / DISCOPHON (1969)
16. DIXIES, LOS - 'BLACK CAT' / SONOPLAY (1968)
17. GRIMM, LOS - 'WANT MY LOVE AGAIN' / PHILLIPS (1969)
18. Z-66 - 'TRYING TO GET YOU' / EMI (1968)
cd 2
1. PEKENIQUES, LOS - 'TABASCO' / HISPAVOX (1971)
2. MANUEL GAS - 'I'M A MAN' / FONTANA (1970)
3. CIRCULOS - 'RESPECT' / ACCION / UNIC (1971)
4. FINDER'S - 'VEN CONMIGO' / MARFER (1967)
5. HENRY & THE SEVEN - 'YOU LOVE ME' / CEM (1968)
6. SALVAJES - 'CORRE CORRE' / EMI (1966)
7. EUROGRUP - 'POTS SENTIRME?' / CONCENTRIC (1968)
8. JESSE & JAMES - 'CHANGE' / BELTER (1969)
9. GRUPO ANONIMO - 'IMPREVISTO' / BERTA (1968)
10. T.R. SELECTION - 'KOOL & THE GANG' / REGAL (1970)
11. CUATRO MONEDAS, LAS Y GREGORY - 'TRAUMA' / BELTER (1971)
12. AUGUSTO ALGUERO - 'LAUGH LAUGH' / POLYDOR (1971)
13. CONEXION - 'I WILL PRAY' / SONOPLAY (1969)
14. KOLDO - 'DISC MAN' / CEM (1968)
15. FRANK MILLER & HISPANIA SOUL - 'MELENAS CLUB' / SAN DIEGO (1969)
16. CALIBRE 38 - 'I FELT FOR YOUR LOVE' / SINTONIA (1969)
17. DUO INTER - 'BEGGIN'' / SESION (1967)
18. LOS ZINKOS - 'TU MANDAS EN MI' / SINTONIA (1967)
19. JIMMY STONE - 'FAMILY AFFAIR' / PALOBAL (1972)
1. PEKENIQUES, LOS - 'TABASCO' / HISPAVOX (1971)
2. MANUEL GAS - 'I'M A MAN' / FONTANA (1970)
3. CIRCULOS - 'RESPECT' / ACCION / UNIC (1971)
4. FINDER'S - 'VEN CONMIGO' / MARFER (1967)
5. HENRY & THE SEVEN - 'YOU LOVE ME' / CEM (1968)
6. SALVAJES - 'CORRE CORRE' / EMI (1966)
7. EUROGRUP - 'POTS SENTIRME?' / CONCENTRIC (1968)
8. JESSE & JAMES - 'CHANGE' / BELTER (1969)
9. GRUPO ANONIMO - 'IMPREVISTO' / BERTA (1968)
10. T.R. SELECTION - 'KOOL & THE GANG' / REGAL (1970)
11. CUATRO MONEDAS, LAS Y GREGORY - 'TRAUMA' / BELTER (1971)
12. AUGUSTO ALGUERO - 'LAUGH LAUGH' / POLYDOR (1971)
13. CONEXION - 'I WILL PRAY' / SONOPLAY (1969)
14. KOLDO - 'DISC MAN' / CEM (1968)
15. FRANK MILLER & HISPANIA SOUL - 'MELENAS CLUB' / SAN DIEGO (1969)
16. CALIBRE 38 - 'I FELT FOR YOUR LOVE' / SINTONIA (1969)
17. DUO INTER - 'BEGGIN'' / SESION (1967)
18. LOS ZINKOS - 'TU MANDAS EN MI' / SINTONIA (1967)
19. JIMMY STONE - 'FAMILY AFFAIR' / PALOBAL (1972)
Labels: caveman78, Various Artists Links to this post
Sunday, March 18, 2007
New Birth - 1973 - It's Been A Long Time
New Birth was a talented group that had hits under three different names - The Nite-Liters; Love, Peace & Happiness; and New Birth, which was later billed as New Birth, Inc. Their history may be complicated but their music was not. They performed to-the-point Rhythm and Blues, featuring a strong mix of talented vocalists and instrumental prowess.
A perfect combination of funk and smooth soul.
Tracks
1. It's Been A Long Time
2. Keep On Doin' It
3. Wild Flower
4. Ain't No Change
5. I'd Spend My Whole Life Loving You
6. Pains Of Love
7. Heaven Says
8. Come On And Dream Some Paradise
Liner Notes
the first time i saw the new birth was on a tv show and i remember thinking "wow, they are really a super talented group." so when asked to do the liner notes for this album, i really felt honoured because the new birth is a group that has always stood out in my mind as one of the finest talents around. but what do you say about a group that dazzles their audiences with their superb singing talents? what do you say about a group whose on stage showmanship is unparalleled? what do you say about a group whose record hits have proven them to rank among the best in the show business world? the thing you can say (and pass the word around) is to go out and get the new birth, listen to the new birth, groove with the new birth and you'll find yourself present at the birth of music that will really grow on you. get with a group whose get-down style really gets it on! Sonny Taylor program director wgrt radio
The reviews
2. Keep On Doin' It
3. Wild Flower
4. Ain't No Change
5. I'd Spend My Whole Life Loving You
6. Pains Of Love
7. Heaven Says
8. Come On And Dream Some Paradise
Liner Notes
the first time i saw the new birth was on a tv show and i remember thinking "wow, they are really a super talented group." so when asked to do the liner notes for this album, i really felt honoured because the new birth is a group that has always stood out in my mind as one of the finest talents around. but what do you say about a group that dazzles their audiences with their superb singing talents? what do you say about a group whose on stage showmanship is unparalleled? what do you say about a group whose record hits have proven them to rank among the best in the show business world? the thing you can say (and pass the word around) is to go out and get the new birth, listen to the new birth, groove with the new birth and you'll find yourself present at the birth of music that will really grow on you. get with a group whose get-down style really gets it on! Sonny Taylor program director wgrt radio
The reviews
1
IT'S BEEN A LONG TIME, the fifth New Birth release, has been their biggest selling record to date. The title track, released in January 1974, climbed the R&B Charts where it remained in the Top 10 for 17 weeks. "It's Been A Long Time" marked a change to the softer, more romantic stylings that have become a New Birth mainstay. The title track came to Melvin in a dream. One day on the band bus, Melvin awakened with a start and all of the lyrics poured out of him. In the studio, Leslie filled the song with waves of passion. Leslie explains, "I'm a church boy, so it's my desire to give it everything I've got. Nothing compares to the feeling of singing for an audience, and if you can make them feel the emotion without touching them, it's magic." "It's Leslie, once again, worked his vocal magic on the hit cover, "Wildflower", which charted at #17 on the R&B chart and went Top 10 in England.. Leslie had originally discovered the song when a friend sang it on a bus ride from Cleveland. "When we went in to record it I got into that special mood," Leslie explains. "I thought about what I wanted to tell the woman I'd spend the rest of my life with. Once you go caressing a song like that, all the feeling comes out." Oddly enough, although "Wildflower" did not chart as well as their other songs, this love song has become one of New Birth's most recognized hits Been A Long Time" has become THE quintessential R&B reunion song.
2
Under the guiding hand of Harvey Fuqua (former Moonglow, record label owner, and Motown producer/songwriter), the New Birth cut some of the '70s' grittiest and funkiest sides. Three male vocalists sang lead -- Melvin and Leslie Wilson and Alan Frye -- and were complemented by the atmospheric soprano of Londee Loren. Their rendition of Skylark's "Wildflower" put them in demand on the concert circuit; people just had to see the group responsible for transforming a good pop song into a gutbucket, yet tender, emotionally charged drama. The male vocalists outdo themselves, and Loren's skyscraping screams are delicately placed throughout. The other monster here, "It's Been Such a Long Time," captivates from the beginning with its heartbeat rhythm. The lead singing is Bobby Womack-influenced, but with a stark freshness and newness, and the interaction between the lead and the background near the refrains will have you bouncing. Other keepers are "Heaven Says" and the soul-dripping "Pains of Love," while Londee gets a chance to solo on "I'd Spend My Whole Life Loving You." New Birth hit their stride on this one.
Labels: N, nikos1109 Links to this post
Saturday, March 17, 2007
Dorothy Ashby - 1968 - Afro-Harping
Soul Vibrations
Games
Action Line
Lonely Girl
Life Has Its Trials
Afro-Harping
Little Sunflower
Valley Of The Dolls (Theme)
Come Live With Me
The Look Of Love
Games
Action Line
Lonely Girl
Life Has Its Trials
Afro-Harping
Little Sunflower
Valley Of The Dolls (Theme)
Come Live With Me
The Look Of Love
Although not the first jazz harpist, Dorothy Ashby was clearly the most successful, and contributed some choice recordings in the hard bop and jazz-funk styles. She grew up around music in Detroit, where her father, guitarist Wiley Thompson, often brought fellow jazz musicians home to jazz while Dorothy comped in the background on their piano.
She came to the harp only after a short detour through saxaphone and bass in the band of Cass Technical High School, where she attended alongside future jazz greats Donald Byrd, Gerald Wilson, and Kenny Burrell. She had to share five harps with fourteen other students, however, so she must have quickly discovered an affinity, because she was left with a goal of owning her own harp. As she later commented, "This isn't just a novelty, though that is what you expect. The harp has a clean jazz voice with a resonance and syncopation that turn familiar jazz phrasing inside out."
She attended Wayne State University, studying piano and music education, and after graduation, went to work in the small but lively jazz scene in Detroit. Although she could get hired as a pianist, she wanted to play harp more, and bought one in 1952. She overcame initial resistance to the concept by organizing free shows and playing to dances with her trio.
Ashby's trio, including her husband John Ashby on drums, toured the country and appeared on a variety of jazz labels through the late 1960s. She played with Louis Armstrong, Woody Herman, and other acts, and in 1962, was selected in down beat's annual poll of best jazz performers. She also worked with her husband on a theater company, the Ashby Players, he founded in Detroit.
In the late 1960s, they tired of touring and moved to California, where she broke into the studio system (which already had enough harpists for its needs) with the help of soul singer Bill Withers. Withers recommended her to Stevie Wonder and she ended up with a steady series of session gigs, playing behind such singers as Dionne Warwicke, Diana Ross, Earth, Wind & Fire, and Barry Manilow.
Ashby's Cadet albums have come to be viewed as among the best early examples of acid jazz, and now fetch eye-watering prices among collectors. Breaks and rhythm tracks from the superb Richard Evans arrangements have become favorites for sampling and remix artists.
Download it here :
Labels: A, D, innocent76 Links to this post
Diana Ross - 1976 - Diana Ross
Two of Miss Ross's staples are here: "The Theme from Mahogany" and "Love Hangover". The former is one of her best ballads while the latter is one of the seminal dance tracks of the disco '70's.
it's still an essential of her discography.
This is probably Dianas' best album...Dianamite...She was at her best, her height of Stardom..A fabulous cover..Diana Ross and Barry Gordy made a great team and knew how to provide hit records...I played this LP over and over again..A wonderful time capsule of the talented Star Diana...
1 Theme from Mahogany (Do You Know Where You're Going To) (3:22)
2 I Thought It Took a Little Time (But Today I Fell in Love) (3:19)
3 Love Hangover (7:49)
4 Kiss Me Now (2:42)
5 You're Good My Child (3:35)
6 One Love in My Lifetime (3:37)
7 Ain't Nothin' But a Maybe (3:35)
8 After You (4:06)
9 Smile (2:55)
The Reviews
1
What a guilty pleasure is to hear Diana Ross voice, she's has the sweetest voice in the business. Her self titled album of 1976 was a definition between her adult contemporary ballads of 1973's Touch Me In The Morning, 1974's Last Time I Saw Him and the disco beats of 1979's The Boss, 1980's diana, "Love Hangover" was the first attempt for miss Ross to conquer the world of disco, and my oh my!, this is so good, more than 7 minutes of sweetly moaning and singing by Ross, a total dance classic!, "The theme from Mahogany" is one of the most mellow slowly and sweetly ballads that Diana deliver, not a personal favorite but still a classic, the delivery of two perfect pop gems like "I Thought It Took A Little Time" and "One Love In MY Lifetime" where kind and generous but didn't achieve that success that Diana deserve simply because the world was in love with Disco, I'm my humble description I must say that the other tracks that didn't became singles where jazzy ballads, a reminder of Lady Sings The Blues, that will satisfy any ballad lover in the world, overall this is an amazing masterpiece by Miss Ross, that tried to fall in the peoples taste of those years by adding a Disco track between delicious crafted pop contemporary gems
2
This album represents a definite change in direction for Ross both as a popular singer and as an adult who was showing more depth in her work. After the success of Lady four years earlier, the singer/actress had established herself as the most recognizable voice of American popular music. When this collection was released, the world was moving from rock and country-rock into disco, and Diana's number one single "Love Hangover" became one of the biggest dance club hits of the year. The record also spurred other notable single releases such as "One Love In A Lifetime," and "Theme From Mahogany," the latter being about the brightest spot in a somewhat dull 1975 motion picture. Sales were brisk for this collection of Ross songs, and with "Theme..." receiving an Academy Award nomination for "Best Song" and Ross's increasingly high profile in live tours, the album became very successful for the diva. This is one of the best Ross efforts from the 1970's...if you wanted a recognizable collection of her contributions to that decade, it would be easy to recommend this album along with The Boss, Touch Me In The Morning, Lady Sings The Blues, and Diana Ross (her debut album). *** a special note. I lived for awhile with two young students, both of whom were barely born when Diana Ross had scored her last number one record. One night we were sitting outside on the large patio, and they decided to let me play them some of my older music. They were not only surprised but amazed at the quality and clearness of Ross's voice on "Touch Me In The Morning" and on this album. They had never heard much of her beyond old Supremes efforts and the later material. For a few brief musical cuts, they suddenly were exposed to what made Diana Ross the legend beyond a glittering pop star.
Download Link :
diana_ross_-_1976_-_diana_ross.rar
Labels: D, nikos1109, R Links to this post
Deodato - 1975 - First Cuckoo
Deodato - 1975 - First Cuckoo
01 Funk Yourself (Deodato) 4:18
02 Black Dog (Jones, Page, Plant) 4:22
03 Crabwalk (Deodato) 7:48
04 Adam's Hotel (Valle) 3:40
05 Caravan/Watusi Strut (Ellington, Mills, Tizol) 11:48
06 Speak Low (Nash, Weill) 4:36
07 First Cuckoo (On Hearing the First Cuckoo in Spring) (Delius) 4:07
Deodato - Piano, Clavinet, Keyboards
George Marge - Clarinet, Flute
Hubert Laws - Flute
Lou Marini - Sax (Soprano)
Alan Rubin - Trumpet, Flugelhorn
James Buffington - French Horn
Sam Burtis - Trombone
Hugh McCracken - Guitar, Guitar (Electric)
Elliott Randall - Guitar (Electric)
John Tropea - Guitar
Gene Orloff - Violin
Max Pollikoff - Violin
David Nadien - Violin
Irving Spice - Violin
Selwart Clarke - Violin
Harry Cykman - Violin
Max Ellen - Violin
Harry Lookofsky - Violin
Nick Remo - Drums
Rubens Bassini - Conga
Russ Savakus - Bass
Will Lee - Bass
Biography :
Despite a productive career, Deodato will always be best-known for a 1972 hit record, his catchy adaptation of "Also Sprach Zarathurstra (Theme From 2001: A Space Odyssey)." He began his career playing in a popular local rock group as a teenager. At 17, he was asked to arrange for a recording session orchestra and, despite never having written a score before, the teenager succeeded at quickly learning what was necessary. Although Deodato spent time studying engineering, he eventually decided to make a career in music due to the popularity of his writing. After working in Brazil's studios, he moved to the United States in 1967. Deodato wrote for the American studios and was involved in the still fertile bossa nova movement. He wrote arrangements for Astrud Gilberto, contributed three charts to Wes Montgomery's Down Here on the Ground, and was soon working for major names in several fields including Aretha Franklin, Bette Midler, Frank Sinatra, Earth, Wind & Fire, Stanley Turrentine, and Antonio Carlos Jobim, among others. With the release of Prelude in 1973 (his first solo album and the one that included the "Theme From 2001"), Deodato became a major name for a time. He recorded sets for CTI, MCA, and Warner Bros. through 1979, although the efforts tended to be over-arranged and none caught on as well as Prelude. Since that time, Deodato was mostly outside of jazz, working as a producer and arranger behind the scenes, including for Kool & the Gang during 1979-1983.
~ Scott Yanow [AMG]
01 Funk Yourself (Deodato) 4:18
02 Black Dog (Jones, Page, Plant) 4:22
03 Crabwalk (Deodato) 7:48
04 Adam's Hotel (Valle) 3:40
05 Caravan/Watusi Strut (Ellington, Mills, Tizol) 11:48
06 Speak Low (Nash, Weill) 4:36
07 First Cuckoo (On Hearing the First Cuckoo in Spring) (Delius) 4:07
Deodato - Piano, Clavinet, Keyboards
George Marge - Clarinet, Flute
Hubert Laws - Flute
Lou Marini - Sax (Soprano)
Alan Rubin - Trumpet, Flugelhorn
James Buffington - French Horn
Sam Burtis - Trombone
Hugh McCracken - Guitar, Guitar (Electric)
Elliott Randall - Guitar (Electric)
John Tropea - Guitar
Gene Orloff - Violin
Max Pollikoff - Violin
David Nadien - Violin
Irving Spice - Violin
Selwart Clarke - Violin
Harry Cykman - Violin
Max Ellen - Violin
Harry Lookofsky - Violin
Nick Remo - Drums
Rubens Bassini - Conga
Russ Savakus - Bass
Will Lee - Bass
Biography :
Despite a productive career, Deodato will always be best-known for a 1972 hit record, his catchy adaptation of "Also Sprach Zarathurstra (Theme From 2001: A Space Odyssey)." He began his career playing in a popular local rock group as a teenager. At 17, he was asked to arrange for a recording session orchestra and, despite never having written a score before, the teenager succeeded at quickly learning what was necessary. Although Deodato spent time studying engineering, he eventually decided to make a career in music due to the popularity of his writing. After working in Brazil's studios, he moved to the United States in 1967. Deodato wrote for the American studios and was involved in the still fertile bossa nova movement. He wrote arrangements for Astrud Gilberto, contributed three charts to Wes Montgomery's Down Here on the Ground, and was soon working for major names in several fields including Aretha Franklin, Bette Midler, Frank Sinatra, Earth, Wind & Fire, Stanley Turrentine, and Antonio Carlos Jobim, among others. With the release of Prelude in 1973 (his first solo album and the one that included the "Theme From 2001"), Deodato became a major name for a time. He recorded sets for CTI, MCA, and Warner Bros. through 1979, although the efforts tended to be over-arranged and none caught on as well as Prelude. Since that time, Deodato was mostly outside of jazz, working as a producer and arranger behind the scenes, including for Kool & the Gang during 1979-1983.
~ Scott Yanow [AMG]
Labels: D, Lost-In-Tyme Links to this post
Thursday, March 15, 2007
Donny Hathaway - 1971 - Donny Hathaway
Get under the influence of Donny Hathaway, soul music high priest. Soul music at its most liberating.
Essential listening. Once it grows on you, you'd be thankful for your patience. The music is so uplifting, like the best of 70s soul music.
The album's masterful blend of spiritual soul tracks that plumb the depths of Donny's dark soul, done with a level of sophistication that you won't hear in other soul albums from the time!
Tracks
1 Giving Up (6:24)
2 Song for You (5:27)
3 Little Girl (4:47)
4 He Ain't Heavy, He's My Brother (5:55)
5 Magnificent Sanctuary Band (4:24)
6 She Is My Lady (5:33)
7 I Believe in Music (3:38)
8 Take a Love Song (4:53)
9 Put Your Hand in the Hand (3:49)
10 Be There (bonus) (3:05)
11 This Christmas (bonus) (3:50)
2 Song for You (5:27)
3 Little Girl (4:47)
4 He Ain't Heavy, He's My Brother (5:55)
5 Magnificent Sanctuary Band (4:24)
6 She Is My Lady (5:33)
7 I Believe in Music (3:38)
8 Take a Love Song (4:53)
9 Put Your Hand in the Hand (3:49)
10 Be There (bonus) (3:05)
11 This Christmas (bonus) (3:50)
Biography
An exceptional soul singer from Chicago, Donny Hathaway's life ended early, but he left behind a legacy of classic music. He started singing and playing piano as a young child, and eventually attended Howard University on a music scholarship. In the mid-sixties, he played with a jazz group called the Ric Powell Trio, and was soon producing and arranging for many other acts. He also worked as a session musician, playing keys with the Staple Singers and Aretha Frankin among others. That led to him joining the Mayfield Singers, backing up Curtis Mayfield and The Impressions. In 1969, he got a deal with ATCO and released his debut solo single "The Ghetto Pt. 1." His first full-length, the timeless Everything Is Everything came out the following year, establishing Hathaway as a visionary artist able to seamlessly blend funk, gospel, and social awareness in his music. His second album, 1971's Donny Hathaway was a much more somber affair, with minimalist, piano-driven cover songs. On it, he hooked up with Roberta Flack for a duet version of "YouÂ’ve Got A Friend." The track became a hit and led to an entire album of duets between the two, released the following year. From that LP came "Where Is the Love," a huge hit single that won a Grammy and topped the charts. While his career was at an all-time high, Hathaway was gripped by severe depression, so much so that he had to be periodically hospitalized. His third and final studio album Extension Of A Man came out in 1973, after which he kept a low profile, performing infrequently and then only in small venues. Several years later he reconnected with Roberta Flack and scored another huge hit with "The Closer I Get To You," but it would be his final one. In January of 1979 he committed suicide by jumping out a 15-story window in New York City. Although his career was short-lived, Donny Hathaway made a huge impact on R&B and popular music in general, dozens of hip-hop artists have since sampled his records, reconfiguring his tracks into numerous rap hits.
The Reviews
1
Donny Hathaway was a star that burned brightly and too quickly was extinguished, but his legacy was a set of albums which stand comparison with the Soul superstars of the era. His first album was a classic, and comtained an instrumental giant "The Ghetto" On this, his second album from 1971, Donny Hathaway showcases his great voice and the stand out tracks for me are the big ballads - He Ain't Heavy.., A Song For You and She Is My Lady. There is no "The Ghetto" soundalike here, just great songs beautifully arranged and performed, and the gospel influence is very evident here, probably more than on any of his other albums. This is a real Soul album therefore. With the addition of a couple of bonus tracks, including the great "This Christmas", this is an album for fans of Soul. It would also serve for those fans of more recent R & B, as Donny was an undoubted influence on so many contemporary artists like India Arie, Alicia Keys, John Legend and Leela James.
2
Many of us will never have heard of Donny Hathaway. He was of a time when African American musicians were particularly inspired and wonderfully creative at the height of optimism for change in the early 70's (Stevie, Marvin, Isley Bros, Staple Singers, Al Green the whole bit). It is only because my mother loved Roberta Flack that I knew he existed. I also found out that he also played keyboards on a few Aretha tracks. So when I chanced upon this disc in a discount store I took a chance. Top choice. The man's voice is silk and his arrangement on the cover of "He ain't heavy.." makes the song his own. There is simply no other voice like Donny's. The pace of the disc is intense if not unique, there is a real mixture of gospel and contemporary influences, cosy up to the voice, composition and musical talents of Donny. For all the romantics in the world go straight to "Take a love song" (sing it in the air) and for the best Christmas song ever it has to be "This Christmas" then stay on for "Be there". I have all the other Donny's now and can't get through a day without listening to him.
Download Links :
donny_hathaway_-_1971_-_donny_hathaway.rar
donny_hathaway_-_bonus___covers.rar
Labels: D, H, nikos1109 Links to this post
Wednesday, March 14, 2007
Gal Costa - Gal Costa (1968)
I actually don't know if this album has been posted before or not, but it certainly deserves it.
Gal Costa's (own) debut album is one of the best representatives of the Tropicalia movement. This originated in Brazil in the mid to late 60s and was basically a counterculture revolution, in all art fields. Together, artists including Caetano Veloso, Tom Zé, Brazil's current minister of Culture Gilberto Gil, the Mutantes and a few others managed to change Brazilian culture forever.
Gal Costa has since become one of the biggest (as in relevance, not ass size...) singers in her country, and (in my opinion) her first two albums are amongst the best released there. Listen to this one, originally released on Mercury, for twelve cuts mixing Brazilian rythms with killer guitars and funky drum breaks, not to mention, of course, Gal's unique voice and way of singing. A combination of innocence and braveness, backed by a superb band of musicians and produced by the all-mighty Rogério Duprat.
Well, listen, and judge by yourselves. Enjoy!
Gal Costa's (own) debut album is one of the best representatives of the Tropicalia movement. This originated in Brazil in the mid to late 60s and was basically a counterculture revolution, in all art fields. Together, artists including Caetano Veloso, Tom Zé, Brazil's current minister of Culture Gilberto Gil, the Mutantes and a few others managed to change Brazilian culture forever.
Gal Costa has since become one of the biggest (as in relevance, not ass size...) singers in her country, and (in my opinion) her first two albums are amongst the best released there. Listen to this one, originally released on Mercury, for twelve cuts mixing Brazilian rythms with killer guitars and funky drum breaks, not to mention, of course, Gal's unique voice and way of singing. A combination of innocence and braveness, backed by a superb band of musicians and produced by the all-mighty Rogério Duprat.
Well, listen, and judge by yourselves. Enjoy!
get it here: http://rapidshare.com/files/22732881/gal_costa__1968__gal_costa.zip.html
(updated 25/03/07 , with full album and not missing track 9 like before)
(updated 25/03/07 , with full album and not missing track 9 like before)
Labels: C, G, kaleido Links to this post
Tuesday, March 13, 2007
Blue Magic - 1975 - 13 Blue Magic Lane
Blue Magic is a true 'soul' group! After 25 years of listening to them, I am finally collecting their albums! The standout track is 'What's come over me' (featuring Margie Joseph). The interaction between Ms. Joseph and Blue Magic's lead singer was something that stuck back in '75.
An underrated group and album that i consider is one of the most important in soul funk area.
The Group
Theodore Ted "Wizard" Mills - lead
Keith "Duke" Beaton – tenor
Wendell Sawyer – baritone
Vernon Sawyer – tenor, baritone
Richard Pratt - bass
Tracks
1. Loneliest House on the Block
2. Chasing Rainbows
3. Born on Halloween
4. Haunted (By Your Love)
5. I Like You
6. Magic of the Blue
7. We're on the Right Track
8. Stop and Get a Hold of Yourself
9. What's Come Over Me - Blue Magic, Margie Joseph
Biography
Blue Magic, an R&B vocal quintet whose members were Theodore Mills, Vernon Sawyer, Wendell Sawyer, Keith Beaton, and Richard Pratt, was formed in Philadelphia and signed to Atlantic Records in 1973. They hit the Top 40 of the R&B singles chart with their first three 45s before breaking through and crossing over with "Sideshow," released in April 1974, which went gold, topped the R&B charts, and became a Top Ten pop hit. "Three Ring Circus," their next single, made the R&B Top Ten and the pop Top 40. Blue Magic had two more R&B chart singles in 1975 and four in 1976 before suffering a career slump, but they returned with R&B chart singles in 1981 and 1983 and made a comeback album, From Out of the Blue, in 1989.
The Reviews
1
From a 70s group harmony soul perspective, single lp choice, as difficult as choosing, "The Champ" lp, this album is "last man standing" when the smoke finally clears. There are a number of finalists who make the cut to the "Battle Royale" finals, but when the "points" or "knockout" decisions are in, from a pure "sweet soul" persepctive, this lp ekes out victory over heavyweight albums by The Delfonics, Soul Generation, The Stylistics, Jimmy Briscoe & The Little Beavers & others. The pairing of the legendary Theodore "Ted, The Wizard" Mills, with the production legends at Sigma Sound (Philly), Vince Montana, Bobby Eli, Norman Harris, Earl Young, and the like, created a ballad and uptempo masterpiece album that presents extreme difficulty when seeking to get by, on the road to the Championship. On a singular lp, ballad & uptempo, matching blows with "The Wizard" and group against "Spell", "What's Come Over Me", "Stop To Start", "Tear It Down", and "Answer To My Prayer", "Look Me Up", "Just Don't Want To Be Lonely", "Welcome To The Club", in the writer's opinion, leaves even the known, and not so well known heavyweights looking up at the lights, after having "jabbed" and "hooked" through all the "rounds". An all time classic lp!
2
The third Blue Magic LP continues to subtly refine and expand the group's approach. While their gossamer harmonies remain squarely at the forefront, 13 Blue Magic Lane features more pronounced club grooves than on their previous records, bowing to the inexorable shift from classic Philly soul to disco. Arranged by Norman Harris and Ron Kersey, several songs feature electronic textures that add surprisingly complementary muscle to Blue Magic's delicate vocals. In fact, despite the presence of sumptuous ballads like "Chasing Rainbows" and "Loneliest House on the Block," up-tempo fare like "We're on the Right Track" is even better. The times would later pass Blue Magic by, but for this glorious album, they were not only in lockstep with the prevailing attitudes but further ahead of the curve than any of their contemporaries.
Dowload Link
Labels: B, nikos1109 Links to this post
Monday, March 12, 2007
Esther Phillips - 1975 - What A Diff'rence A Day Makes
A Classic Release for lovers of unique, funk, soul and jazz records.
it has timeless cool all over it, from the musical arrangement, the great writing context, and most of all the dynamic and strong vocal delivery of Ms.Esther Phillips!
Tracklisting:
A1 One Night Affair (5:48)
A2 What A Diff'rence A Day Makes (4:28)
A3 Mister Magic (4:22)
A4 You're Coming Home (3:24)
B1 I Can Stand A Little Rain (3:21)
B2 Hurtin' House (5:00)
B3 Oh Papa (4:18)
B4 Turn Around, Look At Me (3:57)
Biography
Esther Phillips recorded her first work with Johnny Otis in 1949 at the grand age of 13 years old, then in 1950 became the youngest R&B singer to have a #1 US R&B hit ("Double Crossing Blues"). The following year yielded six more Top Ten R&B hits, although from 1952 success dried up with Phillips then moving on from Johnny Otis and Savoy to new label Lenox (and in 1962 scoring her first hit in ten years with "Release Me"). In 1964 Lenox went bust and Phillips moved on to Atlantic where she made some great records (including two great live albums 'Confessin' The Blues' and 'Burnin' - both with King Curtis) but garnered little real chart success (although 'Burnin' did reach #7 on the R&B Album charts in late 1970). Apart from a brief stint with Roulette (1968-1970) Phillips stayed with Atlantic until joining Kudu in 1972.
By this time (despite the occasional heroin relapse - a habit she had picked up when with the Johnny Otis Band - which would plague her until her death in 1984 at the age of 48), Phillips was in dynamic vocal form, and with Pee Wee Ellis serving as arranger, released three stunning soul albums by the end of 1973 ('From A Whisper To A Scream', 'Alone Again, Naturally', 'Black-Eyed Blues'). On the back of these recordings Phillips garnered some serious mainstream praise in 1974 - Rolling Stone Magazine's Best R&B Singer award, Ebony Magazine's Best Female Blues Singer (which she one again in 1975), Downbeat Magazine praise, NAACO Image Award and a French Academie du Jazz Award. However as the decade progressed and disco became more prevalent (and perhaps more importantly Pee Wee Ellis was replaced), things became slicker, and although Phillips scored her biggest international hit single with her disco remake of Dinah Washington's "What A Diff'rence A Day Makes", (and Great Records with Joe Beck) by the end of 1977 Phillips had moved on from Kudu to her own production company ESTO (and arranger Pee Wee Ellis again).
The Reviews
1
Reading the credits of What a Diff'rence a Day Makes, one could easily assume that it is a jazz album. This 1975 LP was produced by Creed Taylor and arranged by guitarist Joe Beck Esther Phillips could have easily delivered a first-class jazz album. But What a Diff'rence a Day Makes doesn't contain any jazz -- not even jazz-funk or soul-jazz. It is, however, an excellent soul/disco outing. This LP is best known for its hit title song, an inspired disco version of a standard that has usually been heard in jazz and pre-rock pop settings. But the song works surprisingly well as disco, and the other tracks are equally impressive. Phillips is as soulful and convincing on the bluesy "I Can Stand a Little Rain" as she is on Gamble Huff's "One Night Affair" (a Philadelphia soul classic that was recorded by Jerry Butler in 1972 and the O'Jays in 1969) and Ralph MacDonald's "Mister Magic."The latter is the gem that Grover Washington Jr. is best remembered for; while his famous version was instrumental jazz-funk, Phillips' is vocal-oriented soul. It should be noted that most of the jazz musicians who back Phillips on What a Diff'rence a Day Makes are not jazz snobs. The Brecker Brothers and Sanborn, for example, have done their share of RB sessions, and they would probably be the first to tell you that this LP needs to be judged by RB standards instead of jazz standards. And when RB standards are applied, it is easy to conclude that What a Diff'rence a Day Makes is among Phillips' finest releases.
2
It's a strange one this it suggests R&B but turns out to be disco/Jazz. It is however a great funky 70's up beat album which is all the more strange when you consider her personal situation, which wasn't that good. The stand out track here is her interpretation of "What a Difference a day makes" by Dinah Washington she funks it up a little and it has me dancing every time I hear it.
It's a strange one this it suggests R&B but turns out to be disco/Jazz. It is however a great funky 70's up beat album which is all the more strange when you consider her personal situation, which wasn't that good. The stand out track here is her interpretation of "What a Difference a day makes" by Dinah Washington she funks it up a little and it has me dancing every time I hear it.
Labels: E, nikos1109, P Links to this post
V.A. - Bay Area Funk II
-cd-2006-front.jpg)
V.A. - Bay Area Funk vol. 2
@320
1. Mary Love “Born To Live With Heartache”
2. Dawn and Sunset “Move in The Room”
3. Project Soul “Ebony”
4. Soft Touch “Plenty Action”
5. Sugar Pie DeSanto “Straighten It Out With Yo Man”
6. San Franciso T.K.O.’s “Acid Lady”
7. The International Ray Camacho Group “Si Se Puede”
8. The Windjammers “Poor Sad Child pt. 1”
9. Faye Marshall “Goin Home”
10. Little Denise Stevenson “Hip Breakin’”
11. Primevil “Stop Look Listen!”
12. Victor Green “Creole Girl”
13. Uptights Band “Devil’s On The Run”
14. The Relatives “Lenient With My Love”
15. Mike Selesia “Brute Strength”
"A true crate digger or funk purist is more than happy to leave overly familiar Ohio Players, Parliament, and Rick James tracks to major-label reissue compilations, preferring instead the joy of discovering a great record that for some reason never charted." SF WEEKLY
"Very fine and somewhat heavier (than volume one)... it's a keeper"
TIME OUT CHICAGO
"Brilliant... a bit stoned, a bit psychedelic and totally tripped out." JELLY JAZZ
"Bona fide funk classics...exposing the listener to the richness of our local scene" SF Bay Guardian
"A killer! As revolutionary as the music and political climate was in the Bay Area in the late 60s and early 70s, it's damn near criminal that there haven't been more representative collections of the music -- enter Luv N Haight Records, who are here with the first ever comprehensive compilation of Bay Area funk and hard soul!" DUSTYGROOVE.COM
"Ubiquity got it majorly right ...Chocolate chunk funky dunks" The Fader
We searched harder and dug-up heavier tracks for this second volume of the Bay Area Funk series. Once again the musical spectrum spans from raw funk to gritty soul. The Bay Area was, and still is, a melting pot of cultures and sounds. The funk scene in San Francisco and surrounding areas reflects that eclectic vibe as artists incorporated rock, Latin, and blues influences into their work.
Amongst these rarities and underground hits are stories of success and failure. Some acts only released one single, while others are certified legends and continue to play and keep the Bay Area music scene alive. Ray Camacho has recorded over 600 tracks and played for royalty and two leper colonies. Also included is the holy grail 7" from Project Soul. This super-rare one-off is from a Vallejo band who's members went on to become ConFunkShun. Mike Selesia's band apparently ate LSD-laced Tootsy Rolls before recording. Southern Californian Faye Marshall spent time up in the Bay Area recording her tune with local funk legend, and BAF Vol 1 artist, Marvin Holmes. Tasty rarities and treats from Primevil, Dawn and Sunset, Soft Touch, and The Windjammers sit next to Bay Area favorites like back-flipping sweet soul sister Sugar Pie DeSanto, 12 year old singing-sensation Little Denise, and one-time James Brown drummer Victor Green.
The extensive liner notes will include track info and band interviews by Bay Area musicologist Justin Torres. Also included are anecdotes plus a first hand overview of the Bay Area's funk scene from writer Lee Hildebrand who saw most of the bands and bought the tunes as they came out.
This is the 50th release for Luv N'Haight records! Since 1990 we have been re-issuing rare and essential soul, funk and jazz records. We do this legally by finding the original artists. Our 50th release returns us to the Bay Area where the label began. Luv N'Haight was born out of the Groove Merchant record store on Haight Street in San Francisco and paved the way for the mother-label, Ubiquity records.
V.A._-_Bay_Area_Funk_vol.2.part1.rar
V.A._-_Bay_Area_Funk_vol.2.part2.rar
Enjoy !!!
If you like this Comp
Buy it Here.
@320
1. Mary Love “Born To Live With Heartache”
2. Dawn and Sunset “Move in The Room”
3. Project Soul “Ebony”
4. Soft Touch “Plenty Action”
5. Sugar Pie DeSanto “Straighten It Out With Yo Man”
6. San Franciso T.K.O.’s “Acid Lady”
7. The International Ray Camacho Group “Si Se Puede”
8. The Windjammers “Poor Sad Child pt. 1”
9. Faye Marshall “Goin Home”
10. Little Denise Stevenson “Hip Breakin’”
11. Primevil “Stop Look Listen!”
12. Victor Green “Creole Girl”
13. Uptights Band “Devil’s On The Run”
14. The Relatives “Lenient With My Love”
15. Mike Selesia “Brute Strength”
"A true crate digger or funk purist is more than happy to leave overly familiar Ohio Players, Parliament, and Rick James tracks to major-label reissue compilations, preferring instead the joy of discovering a great record that for some reason never charted." SF WEEKLY
"Very fine and somewhat heavier (than volume one)... it's a keeper"
TIME OUT CHICAGO
"Brilliant... a bit stoned, a bit psychedelic and totally tripped out." JELLY JAZZ
"Bona fide funk classics...exposing the listener to the richness of our local scene" SF Bay Guardian
"A killer! As revolutionary as the music and political climate was in the Bay Area in the late 60s and early 70s, it's damn near criminal that there haven't been more representative collections of the music -- enter Luv N Haight Records, who are here with the first ever comprehensive compilation of Bay Area funk and hard soul!" DUSTYGROOVE.COM
"Ubiquity got it majorly right ...Chocolate chunk funky dunks" The Fader
We searched harder and dug-up heavier tracks for this second volume of the Bay Area Funk series. Once again the musical spectrum spans from raw funk to gritty soul. The Bay Area was, and still is, a melting pot of cultures and sounds. The funk scene in San Francisco and surrounding areas reflects that eclectic vibe as artists incorporated rock, Latin, and blues influences into their work.
Amongst these rarities and underground hits are stories of success and failure. Some acts only released one single, while others are certified legends and continue to play and keep the Bay Area music scene alive. Ray Camacho has recorded over 600 tracks and played for royalty and two leper colonies. Also included is the holy grail 7" from Project Soul. This super-rare one-off is from a Vallejo band who's members went on to become ConFunkShun. Mike Selesia's band apparently ate LSD-laced Tootsy Rolls before recording. Southern Californian Faye Marshall spent time up in the Bay Area recording her tune with local funk legend, and BAF Vol 1 artist, Marvin Holmes. Tasty rarities and treats from Primevil, Dawn and Sunset, Soft Touch, and The Windjammers sit next to Bay Area favorites like back-flipping sweet soul sister Sugar Pie DeSanto, 12 year old singing-sensation Little Denise, and one-time James Brown drummer Victor Green.
The extensive liner notes will include track info and band interviews by Bay Area musicologist Justin Torres. Also included are anecdotes plus a first hand overview of the Bay Area's funk scene from writer Lee Hildebrand who saw most of the bands and bought the tunes as they came out.
This is the 50th release for Luv N'Haight records! Since 1990 we have been re-issuing rare and essential soul, funk and jazz records. We do this legally by finding the original artists. Our 50th release returns us to the Bay Area where the label began. Luv N'Haight was born out of the Groove Merchant record store on Haight Street in San Francisco and paved the way for the mother-label, Ubiquity records.
V.A._-_Bay_Area_Funk_vol.2.part1.rar
V.A._-_Bay_Area_Funk_vol.2.part2.rar
Enjoy !!!
If you like this Comp
Buy it Here.
Labels: Opa-Loka, Various Artists Links to this post
Isaac Hayes - 1969 - Hot Buttered Soul
This is the one that made Isaac a name in the history of soul music."The Black Moses of Soul" 'cuz he changed and invented soul (R&B) the way it will be in the future. Then Marvin Gaye and Stevie Wonder followed with their masterpieces in the early 70's.
A true master class in musicianship, innovation, and slow burners. This will always be a great time capsule of true soul.
Tracks
1. Walk On By 12.00
2. Hyperbolicsyllabicsesquedalymistic 9.55
3. One Woman 5.00
4. By The Time I Get To Phoenix 18.40
2. Hyperbolicsyllabicsesquedalymistic 9.55
3. One Woman 5.00
4. By The Time I Get To Phoenix 18.40
The Review
Isaac Hayes went into the recording studio back in 1969 with his the Bar-Kays as his backing band and created something magical and timeless that is beyond comparison from anything else I've ever heard. With only four numbers present here, it'd be easy to second-guess picking this up, but if you do you are a sucker, because you just don't understand how strong and potent this album is. It's almost ridiculous how many rappers have sampled this material, and how many times they've done it at that, but none of 'em, NONE OF 'EM could amass the emotion and skill that Brother Ike amassed into these four incredible numbers. The opener 'Walk on By' is not to be messed with for nothin'. The intro is hypnotic and intoxicating, stretching on for over two minutes before Brother Ike's mournful and dour voice comes in to sing his frustration and sadness away. What follows is jus' somethin' funky, fa'real, an' I'm'a try an' spell it all out fa' you. 'Hyperbolicsyllabicsesquedalymistic' is down-and-dirty gut-bucket funktified soul. Rhodes electric piano, classic guitar riffs, and that repetitive piano that Public Enemy jus' loves to sample. Oh, what a classic piece 'a work. I'm surprised lotsa these reviews don't seem to think too highly of 'One Woman' 'cause I can't get enough of that number. It's sweeter and more easy-going than the other three, but it's no less strong. It's just a nice poetic song, irreplaceable if you ask me. Alright, but the truth is that the next number is the real tear-jerker. For the first eight or nine minutes of 'By the Time I Get to Phoenix' there is nothing in the back ground but a hypnotic thumping bassline and Brother Ike telling a truly heartbreaking story of a man and a woman wo were in love, well, at least the man was in love, you know? ("But, y'see, girls, I don't mean to come down on you, but this man LOVED this woman so, but, they say love is blind...") If you're feelin' it, then when the song finally kicks in, you should already be reduced to a puddle of tears. Then all you can do is moan an' wail along with Isaac about bein' a prisoner of love who will never be free.
Fellas, if you've ever had your heartbroken, an' you intend to get anything outta reading this review, it should be to not go another day without this masterpiece. If your lovelorn, sad, an' need somethin' to feed your sadness, or somethin' to keep you in touch with your spirit and soul, then this is the album to pick up. It's by all means one'a the best soul albums of ALL TIME, flawlessly performed from start to finish. Like I said, it's a long and lonely road, but it's a lovely one to travel. Again and again.
Download Link
Fellas, if you've ever had your heartbroken, an' you intend to get anything outta reading this review, it should be to not go another day without this masterpiece. If your lovelorn, sad, an' need somethin' to feed your sadness, or somethin' to keep you in touch with your spirit and soul, then this is the album to pick up. It's by all means one'a the best soul albums of ALL TIME, flawlessly performed from start to finish. Like I said, it's a long and lonely road, but it's a lovely one to travel. Again and again.
Download Link
Labels: H, I, nikos1109 Links to this post
Saturday, March 10, 2007
V.A. - You Thrill My Soul Female & Girl Groups from the Early Stax Sessions
1. Same Thing - Thomas, Carla
2. Here It Comes Again - Thomas, Carla
3. I Can't Stay - Thomas, Carla
4. Heavenly Angel - Tonettes
5. Stolen Angel - Tonettes
6. Unhand That Man - Tonettes
7. Gone For Good - Rene, Wendy
8. Same Guy - Rene, Wendy
9. Love At First Sight - Rene, Wendy
10. If She Should Ever Break Your Heart - Stephens, Barbara
11. Heartbreaker - Parker, Deanie
12. Ask Him - Parker, Deanie
13. Love Is Like A Flower - Stephens, Barbara
14. Just One Touch - Parker, Deanie
15. Ain't Enough Hours In The Day - Thomas, Carla
16. Gosh I'm Lucky - Thomas, Carla
17. He Hasn't Failed Me Yet - Rene, Wendy
18. Crying All By Myself - Rene, Wendy
19. Last Love - Rene, Wendy
20. Crowded Park - Rene, Wendy
21. Can't Stay Away - Rene, Wendy
22. Tell Me - Tonettes
23. Come To Me - Tonettes
24. Do Boys Keep Diaries - Thomas, Carla
Color this: collectors item. You Thrill My Soul features early female and girl group recordings originally released on Stax Records. Only Carla Thomas emerged from these artists as a hit maker, but unfortunately "for casual fans" none of them are included. Wendy Rene (the Drapels) warbles like Frankie Lymon on a few non-sellers. Deanie Parker, who later hit somewhat as a songwriter, not a singer, does a few tracks. Barbara Stephens, a talented singer, never busted a grape and vanished after these early efforts bricked. The Tonettes, comprised of Oscar Toney Jr.'s three sisters, held on a bit longer as the Charmels but with little success. For a costly CD, there's not a hit among its 24 tracks, but there are enough interesting selections to appease the most ardent soul music lover, including some early Chips Morman stuff, who left Stax before the serious cooking began.
[allmusic.com]
Labels: Roxanne, Various Artists Links to this post
Hossam Ramzy & Rafa el Tachuela - 2003 - Flamenco Arabe
Hossam Ramzy & Rafa el Tachuela - 2003 - Flamenco Arabe
This exhilarating CD fuses pulsating Arab rhythms and percussion with fiery Andalusian flamenco. The result is a captivating, fiery, romantic, funky Spanish/Arabian album.
Flamenco Arabe traces back to the old silk and spice routes to find the origins of Arabian, North African and Flamenco Music. It reaches deep into history to find the incredible journey of these Nomadic Tribes that caused the conception and birth of such magnificent styles of musical compostion.
Today, Arabian Music has many influences that stamped their expressions upon its forehead, caused by the numerous invasions and colonisations. Flamenco music has experienced similar changes to it's original routes.
A special dance piece created for this album incorporates the above styles. Track # 10 The Silk Route Suite will take you through many dance forms such as Indian Kathak, Egyptian Classical to the famous Flamenco Siguerias. It finally ends in a big Jam session where all the artists from the various nations add thier influence and colour. This is a perfect piece for a performance of these dance styles.
Musicians: Rafa El Tachuela (flamenco guitar and oud) , Hossam Ramzy (Egyptian and world percussion) , Saied Kamal on Egyptian violin, Mohammed Naiem on Nay and kawala flutes, Maged Serour on qanun, Ossama El Hendy on keyboards, Ghoulam Sarwar Sabri on Indian tabla, Ismail Sabri on sarangi, Featuring Danny Thompson and Duddley Phillips on Double Bass.
01 Al Quantara (The Bridge) [Bulerias] 7:08
02 Ahlam Ghernatah [Memories of old Granada] 4:57
03 Al Vuelo (Flying) [Bulerias for Taranto] 6:42
04 Rumbapa ("Father of Rumba") [Malfuf] 4:33
05 Ráfaga de Viento (Gust of Wind) [Rondeña] 6:42
06 Kebrieaa Samet (Silent Pride) [Masmoudi] 9:21
07 El Amor Perdido (Lost Love) 5:11
08 Men El Belad (From Our Country) [Saidi] 8:17
09 Zambra Por Nadejda (Zambra for Nadejda) 5:39
10 Silk Route Suite (total time= 13:17)
-a Kathak 3:09
-b Egyptian 4:04
-c Sol y Sal (Sun and Salt) [Siguiriya] 3:57
-d Juntos (Together) [Rumba] 2:09
Part I
Part II
Labels: H, Lost-In-Tyme, R, T Links to this post
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can be also found in the main Lost-In-Tyme page .
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The Chi-Lites - 1971 - (For God's Sake) Give More Power To The People
One of the most popular smooth soul groups of the early '70s didn't hail from Philadelphia or Memphis, the two cities known for sweet, string-laden soul. Instead, the Chi-Lites were from Chicago, a town better known for its gritty urban blues and driving RB. Led by vocalist Eugene Record, the Chi-Lites had a lush, creamy sound distinguished by their four-part harmonies and layered productions. During the early '70s, they racked up 11 Top Ten RB singles, ranging from the romantic ballads "Have You Seen Her" and "Oh Girl" to protest songs like "(For God's Sake) Give More Power to the People" and "There Will Never Be Any Peace (Until God Is Seated at the Conference Table)." All the songs featured Record's warm, pleading tenor and falsetto, and the majority of the group's hits were written by Record, often in collaboration with other songwriters like Barbara Acklin.
Tracks
1. Yes I'm Ready (If I Don't Get To Go)
2. We Are Neighbors
3. I Want To Pay You Back (For Loving Me)
4. Have You Seen Her
5. Give More Power To The People, (For God's Sake)
6. Love Uprising
7. Trouble's A Comin'
8. You Got Me Walkin'
9. What Do I Wish For
The Reviews
1
This is the album that made them huge stars, with the huge hit "Have You Seen Her", which has to rank very high in my favorite songs of all time. The b-side to that single is also here, "Yes I'm Ready", and I couldn't think of a better song to put as the b-side to that soul classic. Overall, i'm not into it quite as much as the next few albums, but there is plenty to enjoy here. It is a unique album in that much of it revolves around social commentary of the day, like the Sly & the Family Stone-esque title track. Also, "I Want To Pay You Back" should've been a way bigger hit for the group.
They have been sampled by artists such as Beyonce, Groove Armada and Jay Z. UB40 and The Jam rank among the groups that have covered the Chi-Lites. This is an absolute must for anyone interested in the origins of modern day sampling and the history of Funk/Disco.
2
Though they boasted one of the sweetest voices in soul music with Eugene Record, the Chi-Lites broke away from that format -- thankfully, only slightly -- for 1971's (For God's Sake) Give More Power to the People. Influenced by the growing social consciousness of soul music during the early '70s (especially Sly & the Family Stone and the solo debut of fellow Chicagoan Curtis Mayfield), Record wrote a pair of songs (the title track and "We Are Neighbors") evoking not only deep frustration but also a plea for hope and unity that challenging times demanded. It certainly didn't hurt that both were monster productions with raw, aggressive synthesizers, intense lead vocals, and some of the strongest, loudest harmonizing ever heard on a soul record. Doubly ironic and doubly fortunate too that (For God's Sake) Give More Power to the People also featured a pair of the Chi-Lites' sweetest soul ballads, "Have You Seen Her?" and "I Want to Pay You Back," plus the excellent strollers "Love Uprising" and "You Got Me Walkin'." The Chi-Lites weren't exactly album artists, but (For God's Sake) Give More Power to the People was a powerful example of early-'70s soul and the best record they ever released.
3
The record industry was a strange game back in 1969-71. The Chi-Lites had been kicking around for a few years, doing good but not necessarily great Chicago-styled soul before they signed to Brunswick (a label whose 45 labels are among my favorite memories of early adolescence). Their debut album, ?Give It Away,? was a solid effort, though not necessarily memorable. The next year, 1970, the band got funkier, and a new album was rushed out to include singles like ?I Like Your Lovin? (Do You Like Mine?).? It included seven tracks from the album before it, which I guess nobody noticed since the first one didn?t sell much, anyway. Then came 1971, and masterpieces all over the place. ?Have You Seen Her?? ?We Are Neighbors.? And the magnificent ?(For God?s Sake) Give More Power to the People.? The Chi-Lites kept going after that, but never again achieved such a magnificent combination of progressive production, expansive melodies, and exquisite vocal harmonies.
Labels: C, nikos1109 Links to this post
Friday, March 9, 2007
Al Green - 1972 - I'm Still In Love With You
Al Green was the first great soul singer in the 70's.
This album definitely sets the standard of what we call today Smooth Soul. Al Green is a timeless testamony of love and happiness. Yes Al we're still in love with your music.
Tracks
1 I'm Still in Love with You (3:16)
2 I'm Glad You're Mine (2:59)
3 Love and Happiness (5:03)
4 What a Wonderful Thing Love Is (3:38)
5 Simply Beautiful (4:15)
6 Oh, Pretty Woman (3:25)
7 For the Good Times (6:32)
8 Look What You Done for Me (3:06)
9 One of These Good Old Days (3:17)
The Reviews
1
Still in Love with You is a complete album. The type of album that you can play straight through, in order, time after time. Each songs flows into the next creating the sense of a man giving a melodic testimony concerning his innermost feelings about love, life, longing, pain, sadness melancholy and redemption. Not a wasted note, sound or breath is to be found on the entire album.Of all of the instruments used in the making of this album, Al's voice is the greatest of them. It can be heard best on "Simply Beautiful". It is simple, controlled and seductive. He purposely teases with a falsetto that's as light as a feather yet as powerful as a tiger. All within his control at the same time. He sings as if he's whispering in his lady's ear - the moans at the end are potent enough to produce babies themselves.You cannot be a music fan or collector of any kind without owning this album. Masterpiece is an understatement. This is what the soul afterlife must be like.
2
There are few perfect records in the world, but Al Green's I'M STILL IN LOVE WITH YOU may be one of them. Backed by producer Willie Mitchell's phenomenal stable of musicians, including drummer Al Jackson and the three Hodges brothers, Green reached deep into his soul to pull out one of the finest recordings of his (and, arguably, anyone else's) career. The opening title track is classic Green, with staccato punctuation from the Memphis Horns and Jackson's relaxed, syncopated drum pattern setting the stage for the singer's luxurious, silk-voiced expressions of devotion. The drums and slinky organ riff that kick off "So Glad You're Mine" are irresistible, while the inventive chord progression and infectious call and response section help make "Love And Happiness" one of the singer's finest moments. Continuing his tradition of turning unlikely outside material into gorgeous R&B, Green works his soulful magic on Kris Kristofferson's ballad "For The Good Times" and Roy Orbison's "Pretty Woman." The high point comes with "Simply Beautiful," an aptly titled tune that finds Green weaving his ethereal falsetto in and around a hypnotic groove with a grace that justifies his reputation as the king of R&B crooners. In truth, I'M STILL IN LOVE WITH YOU is almost too good to believe. Not incidentally, it set the standard for the next 20-plus years of R&B music.
3
Al Green's I'm Still In Love With You, undoubtedly one of all-time favorite albums and more importantly, my so-called "desert island disc". In other words, if I were forced to spend eternity listening to one album, I would, without hesitation, select Green's 1972 classic to be my musical companion until the end of days. but what makes I'm Still In Love With You truly great -- and the reason why it'd be my desert island disc if I was ever forced to choose one -- is that there's something here for every mood. Green's cover of "Pretty Woman" draws on the innate funk sunken into Orbison's original, turning the classic rocker into a slinky, soulful groover. If you're feeling melancholy, you can sink into the quiet, morose atmosphere of "For the Good Times". Tap into either "Love and Happiness" or "What a Wonderful Thing Love Is" for the musical equivalent of an opiate dose -- an embracing sensation of well being that can't be shaken. There's something incredibly affirming about "One of These Good Old Days" -- a hopeful quality embedded not just in Green's vocals, but also in the blend of strings and horns that fuels this mid-tempo burner. And there is nothing more sublime that I've experienced than just closing my eyes to "Simply Beautiful" -- a title perfectly embodied in the song's unhurried guitar melody and Green's relaxed vocals. Most of all, Green never leaves you alone -- that intimacy I spoke about before just eases under your skin and is a companion throughout. You can listen to the album alone but you never feel alone with it.
Labels: A, G, nikos1109 Links to this post
Saturday, March 3, 2007
Millie Jackson - 1974 - Caught Up
A loose concept album about the consequences of a love affair with a married man, viewed from various sides. The opening suite "If Lovin' You Is Wrong I Don't Want To Be Right/The Rap," a raid on Isaac Hayes's string-heavy slow funk stew, is one of the greatest recordings I've ever heard,
A TREASURE!
A1 If Loving You Is Wrong I Don't Want To Be Right 3:56
A2 The Rap 5:53
A3 If Loving You Is Wrong I Don't Want To Be Right (Reprise) 1:14
A4 All I Want Is A Fighting Chance 2:37
A5 I'm Tired of Hiding 3:45
B1 It's All Over But The Shouting 2:53
B2 It's Easy Going 4:08
B3 I'm Through Trying To Prove My Love To You 5:53
B4 Summer (The First Time) 5:58
The Reviews
1
Taking the drama of a love triangle to logical extremes, Millie Jackson's Caught Up turns the pitfalls of tainted love into the basis for a concept album (the seeds for soul music's explicit treatment of the topic having been planted by James Carr's "Dark End of the Street"). While the "other woman's" view is taken up initially on cuts like the R&B hit "If Loving You Is Wrong I Don't Want to Be Right," the wife's plight is covered on the second half of the disc with revealing titles like "It's All Over But the Shouting." Jackson also delivers some of her patented racy commentary on the appropriately named "The Rap," while showing equal vigor in the album's wealth of fine vocal performances, including an impressive cover of Bobby Womack's "I'm Through Trying to Prove My Love to You." Caught Up's standout track, though, is the version of Bobby Goldsboro's "Summer" that closes the record. Seemingly out of sync with the overriding concept, the song touches upon a girl's loss of innocence to an older man. One soon realizes, though, that beyond sexual awakening, Jackson is really emphasizing the point of no return: after the epiphany, one is sent hurdling toward the power struggles and politics of adult relations, including, potentially, the moral crossroads of infidelity. Luckily, as soon as your mind overloads from pop semiotics, the in-the-pocket grooves supplied by the Muscle Shoals Swampers provides the needed salve. Jackson shows both brains and soul on this fine release, creating what might be the only concept album one can dance and drink to.
2
As a certain english bard noticed centuries ago,fashion may change,politics are changing,religions too,but basic human emotions stays the same."Caught up" recorded in 1974. still have the power to move the listener,27 years after its release,simply because subject of love triangle would always be the part of our relationships and on this album explores this story with unsurpassed passion and honesty.Yes,true,music with its early,pre-disco funk could be recognised as result of early 1970's but its the first class production and interpretation,nevertheless sounds great simply because its original and today funk stars are trying to achieve same effects. I found strange that at the time of release,Millie Jackson was considered to be singer who is hiding her vocal limitations with "rap",when to my ears her robust,gritty,passionate voice sounds like one of the best voices I ever heard (combination of Gladys Knight and Tina Turner).I guess that her underrated status comes from the fact that every black female singer at the time was compared to Aretha Franklin,and Jackson openly admitted that she never had any singing lessons in her life - which make her one of the great natural talents and for me,she is singer nr.1 - I heard "Caught Up" just a few days ago and althought I discovered it late (27 years after recording) I am fan for life.
Labels: J, M, nikos1109 Links to this post
