April 2007

Monday, April 30, 2007

Ashford & Simpson - 1978 - Is It Still Good To Ya

For sure their best album. One of my favorite 7o's soul performances.

By this point, Nick Ashford and Valerie Simpson are firmly holding the foreground as artists in their own right after many years of acting as songwriters for other soul and R&B hitmakers, and this self produced album continues in their tradition of sophisticated soul and rich balladry. With a number of singles that would help them begin to break through to later huge chart success, including "Is It Good To You", "Ain't It A Shame", "It Seems To Hang On" and "Get Up And Do Something".

Tracks

1 It Seems to Hang On (5:11)
2 Is It Still Good to Ya? (3:50)
3 Debt Is Settled (3:51)
4 Ain't It a Shame (4:54)
5 Get up and Do Something (4:52)
6 You Always Could (3:30)
7 Flashback (3:55)
8 As Long as It Holds You (3:59)

The Reviews

1

Their pop breakthrough; this went gold and sailed into the Top 20. This is meticulously produced mainstream soul, very similar to what Quincy Jones was doing at the time, only without all the showoff guests. The tender title track was a hit single, as was the frantic funk tune "It Seems To Hang On." Meanwhile, "You Always Could" is a gorgeous melody that sounds tailor-made for Gaye and Terrell. The production is so tasteful they even pull off flirtations with disco ("Get Up And Do Something"). Longtime orchestral arranger Paul Riser is here, and the band would remain in place for several years: Eric Gale (guitar), Ray Chew (keys), and the remarkably limber Francisco Centeno on bass.

2

Having written many popular numbers for various artists over the years, the dynamic duo retain that same tradition for this project. The first release from this album was the midtempo "It Just Seems to Hang On." While each verse is conveyed in a soft texture, the chorus jumps with excitement and intrigue, as does the vamp. Prior to this album, the husband-and-wife team had just one prior R&B Top Ten hit ("Don't Cost You Nothing," number ten in 1978).This song had a stronger impact; it stayed on the charts for 17 weeks. But more importantly, it held the number two position on the Billboard R&B charts for five consecutive weeks. The title track was the follow-up single. With its mesmerizing intonation, Ashford & Simpson intensely deliver this classic R&B ballad with all the right ingredients. In spite of the beauty of the song, it only peaked at #12 on the charts in as many weeks. The final release was "Flashback." Not nearly as inviting as its predecessors, this disco number peaked at number 70 after five weeks on the charts.

3
On their sixth album together, Nikolas Ashford and Valerie Simpson plunge into a lush pop disco that's emotional as well as erotic, propulsive without sounding mechanized. Though these singer/writer/producers have been a lot more stylistically adventuresome in the past—Simpson has the technique, if not the soulful intensity, to deliver punchy R&B and gospel music—they've never seemed more comfortable than they do here. Working in stricter song forms with concise tunes, their vocal roles are clearly defined, and Ashford's reedy tenor, tougher than on previous records, expertly complements his partner's passionate flights.

The compressed euphoria of Is It Still Good to Ya was, merely hinted at on last year's commercial breakthrough, Send It, whose songs were more complex but also more diffuse. On the new LP, the best material carries stronger echoes of Ashford and Simpson's Motown classics, with "Ain't No Mountain High Enough" the obvious prototype. Two beautifully arranged pop-disco numbers—"It Seems to Hang On" (a sexy hybrid of "Ain't No Mountain High Enough" and "Lowdown") and "The Debt Is Settled"—are the production centerpieces. "Flashback" suggests the sleek formula pop of Abba (without the sterility), while "Get Up and Do Something" is a deft exercise in cotton candy funk.

As devoted hedonists comparing notes on a pink cloud over love land, Ashford and Simpson are totally convincing. Though their vision may be somewhat frivolous, they've managed to translate it into music I find almost irresistibly ecstatic.

Download Link :
Ashford___simpson_-__1978__Is_it_still_good_to_ya.rar

Saturday, April 28, 2007

Tommie Young - 1973 - Do You Still Feel The Same Way

Another lost gem of 70's soul.

If you found Soul Children great, this one will blow your mind!

Excellent work from this oft-overlooked southern soul singer! Tommie's got deep deep style that'll knock you flat if you dig southern soul or hard soul -- especially the small label, indie-type variety! Bobby Patterson wrote most of the tracks on this debut album, and the set was recorded in Shreveport with a deep burning Louisiana sound that was the best of that city's scene at the time.

256@ with original covers and 5 bonus tracks, so get it!

original album tracks

SIDE-A
1.Do You Still Feel The Same Way
2.Do We Have A Future
3.You Came Just In Time
4.She Don't Have To See You
5.You Can Only Do Wrong So Long
6.You Can't Have Your Cake

SIDE-B
1.You Brought It All On Yourself
2.That's All A Part Of Loving Him
4.Hit And Run Lover
5.Everybody's Got A Little Davil In Their Soul

This is absolute manna from Southern soul heaven. On the strength of the one, long-unavailable 1973 LP that forms the core of this compilation, Tommie Young can stake a claim as perhaps the finest neo-Aretha Franklin stylist among the slew of early-'70s soul sisters. But she was a meteor flare, almost immediately retreating back to the gospel scene that nurtured her, save for singing lead on the soundtrack to A Woman Called Moses, Cicely Tyson's 1978 film about Harriet Tubman. Granted, Young didn't have the protean power of Franklin (like anyone did?), so her vocal tone is lighter; but the sensational, effortless, melodic leaps on the commanding title track does nothing to dispel the Franklin impression. "Do We Have a Future?" is punchier and might be rushed for a singer lacking Young's immaculate phrasing; she's simply a natural-born singer with the same appealing forthrightness as Irma Thomas. The liner notes say producer Bobby Patterson cut backing tracks to O.V. Wright's "That's How Strong My Love Is" and Percy Sledge's "Take Time to Know Her" (gender-switched here) for her first session and Young just walked in and nailed 'em in one take — and it ain't hard to believe at all. "You Came Just in Time" finds Young fighting through backing vocal clutter, but the ballads "She Don't Have to See You (to See Through You)" and "You Brought It All on Yourself" thankfully free her voice back to unadorned basics, with great command of dynamics and phrasing on the latter. Brilliant phrasing also marks the very strong "You Can Only Do Wrong So Long" and she shines again on the more down-home funky "You Can't Have Your Cake" with some Ann Peebles vocal sass in her delivery. In addition, "Everybody's Got a Little Devil in Their Soul" is just absolutely marvelous, a funk groove with a second-line, jump-up snap in the drums and nice horns — no real melodic changes, but who needs 'em with a wondrous singer testifying in neo-Aretha mode over a killer groove? But it does make you wonder if Young was short-changed by material and production that favored a lighter, neo-Motown soul-pop sound ("That's All a Part of Loving Him" is pretty representative) when she had the voice for tougher, harder-hitting songs like this. The string and horn embellishments that were tasteful early on start to get overbearing on the non-LP extra tracks like "Get out of My Life." It sounds as if they heard the disco boom coming and pumped it all up; but Young is too much of a singer to need any of the forced drama in the arrangement to "I'm Not Going to Cry Any More." The forced histrionics do get pretty dire on "One-Sided Love Affair," but the final five tracks shouldn't throw anyone off Do You Still Feel the Same Way? Tommie Young was singing straight-up soul from a woman's perspective as well as or better than Peebles, Thomas, Laura Lee, Candi Staton, or any other '70s soul woman at that level one step down from Queen Aretha.

Download Link :
tommie_young_1973_-_do_you_still_feel_the_same_way.rar

Thursday, April 26, 2007

The Soul Children - 1974 - Friction

A great album very rare, difficult to find with original covers, 320@ with 2 bonus tracks. It is included in Mojo's Magazine 100 greatest soul albums of all time.

Just amazing 70's soul.

The Soul Children took over vocal chores from Sam & Dave after the latter duo had left Stax. Peter Guralnick, in his excellent book Sweet Soul Music (Virgin p/b), described them as "Sweet harmonies and church wrecking emotion" and who could disagree with such a perfect description.

Tracks
1. I'll Be The Other Woman
2. What's Happening Baby
3. Can't Let You Go
4. It's Out Of My Hands
5. Just One Moment
6. We're Gettin' Too Close
7. Love Makes It Right

8.What's Happening Baby -partI (bonus)

9.Come Back Kind Of Love (bonus)

The Soul Children were organized in 1968 by songwriter/producers Isaac Hayes and David Porter. Their idea was to create a male/female version of Sam and Dave, but with two men and two women in the lineup, the concept became a double whammy. Unlike most soul vocal groups, which feature one or two lead singers, all four Soul Children took turns at the helm, usually within the space of a single song, and the results had the over-the-top intensity of a gospel tent revival at full shout. The Memphis-based group scored 15 R & B hits between 1968 and 1978.

A slicker, sweeter, outing than their previous LP, Genesis, this did nonetheless include their biggest hit, "I'll Be the Other Woman." A little daring for the radio in that it acknowledged an adulterous affair, "I'll Be the Other Woman" was also something of a departure for the Soul Children, putting Shelbra Bennett in the spotlight as lead vocalist (J. Blackfoot had tended to have the most visible leads). Bennett was also lead singer on the less impressive single "Love Makes It Right," a small R&B hit that concludes the record. In the interim, there are lush ballads that get into icky sweetness ("What's Happening Baby") as well as some more uptempo, funky numbers. The best of the lot is "Can't Let You Go," which smolders a bit thanks to the grainy lead vocal (presumably by J. Blackfoot) and subtle wah-wah guitar.

Download Link :

soul_children__1974__-_friction__2.rar

Tuesday, April 24, 2007

Dusty Springfield - 1969 - Dusty in Memphis (Deluxe Edition)

The best British female voice of the 60's.

Martha Reeves thought Dusty was a black girl when she heard her on the radio years before this album. Here, Dusty traveled to Memphis to work with Aretha Franklin's production team -- Wexler, Dowd and Mardin -- and created one of the very finest albums ever.This is truly memphis soul at its finest, there will never be another album like this, it's timeless.

Original albums Tracks

A1 Just a Little Lovin' 2:15
A2 So Much Love 3:28
A3 Son of a Preacher Man 2:19
A4 I Don't Want to Hear It Anymore 3:06
A5 Don't Forget About Me 2:49
A6 Breakfast in Bed 2:54
B1 Just One Smile 2:37
B2 The Windmills of Your Mind 3:48
B3 In the Land of Make Believe 2:28
B4 No Easy Way Down 3:08
B5 I Can't Make It Alone 3:47

The Reviews

1

Dusty in Memphis may very well be one of the two or three best pop albums I've ever heard. The girl has got an amazing voice, a rich, sexy, smoky croon that can flit effortlessly from a seductive whisper to a sky-scraping wail. She throws herself full-on into every note she sings, bringing every lyric to its figurative knees. In short, Dusty's voice is intoxicating and beautiful. Behind her are some of the finest backing musicians ever, and they weave quite the musical tapestry: It's a mix of soulful horns, understated strings, etheral piano, and subtle, tantalizing percussion. When applied to the selected songs- a brilliant mixture of R&B and pop- the music mixes with Dusty's incantation to create a set of dreamy, hypnotic, and addictive songs. An absolute pop masterpiece.

2

If I had to pick one album that would serve as a fitting monument to Dusty Springfield's it would have to be her classic "Dusty in Memphis". It was a tremendous, if sadly overlooked, album when it was first released in 1969 (it managed to hit only #99 on the pop charts). It is even better now that a deluxe edition has been issued that contains 14 `bonus tracks' that had not previously been released. Produced by Atlantic Records' Jerry Wexler and Arif Mardin (who produced a number of Aretha Franklin's early albums), Dusty in Memphis cemented Dusty's reputation as having one of the most powerful, soulful voices of the 60s. Just about every song on this deluxe edition helps cement that reputation. "Son of a Preacher Man" is probably the best known song on the original album. It is a tremendous performance that highlights Dusty's wonderfully smoky, bluesy voice and her ability to interpret a song. The song starts low and wistful and build to a very powerful conclusion. Dusty covers a number of songs written by the team of Gerry Coffin and Carole King. Carole King has said (according to the liner notes) that Dusty was the definitive performer of her songs. After listening to Dusty's covers of King's songs, included spectacular version of "You've Got a Friend" it is hard to find fault with that assessment. The bonus tracks are as compelling as the original album tracks. "Willie & Laura Mae Jones" makes for a perfect follow up to "Son of a Preacher Man" both as to style and substance. Dusty even turns in an excellent performance of "Make it With You", originally performed by Bread. Springfield extracts all the extra sugar from the original and replaces it with a version in which you can hear the yearning in Dusty's voice. Dusty in Memphis is a wonderful monument to a wonderful performer.

3

There is a reason this CD has garnered a 5-star rating from every reviewer - it is nothing short of FABULOUS! There is no 20th Century pop singer who could come close to Dusty Springfield in pure voice and sensuality of style. She set the mark. Heck, I can think of only one other singer who could make those octave leaps in Bacharach's songs as smoothly as Dusty - Dionne Warwick - pretty heady company. That said, Dionne had the technical talent; but, only Dusty made every note sound as though it was dripping with sex. If you buy but 3 albums from the 60's, you owe it to yourself to buy this one; Sgt. Pepper; and, Pet Sounds. As another reviewer said "believe the hype". We lost Dusty way too soon. Thankfully, we still have her incredible music. In 2 words, Dusty Springfield was "the greatest"!

4

I don't know if there's anybody left who still thinks of her as a lightweight pop singer, but if there is, give them this album. Among the 11 tracks that make up the original album are songs with some of the deepest, most soulful singing you've ever heard this side of Aretha Franklin. (Dusty's version of "Son of a Preacher Man" is even BETTER than Aretha's!) Not just "Preacher Man," but "So Much Love," "Don't Forget About Me," "No Easy Way Down" and "I Can't Make It Alone" are just pure, classic Memphis soul. And even when she takes on a song that couldn't really be described as "soul" like Randy Newman's moving ballad, "I Don't Want To Hear It Anymore," or the sly and sexy "Breakfast In Bed" she brings a soulfulness to them that they wouldn't have if anyone else did them. Even "Windmills of Your Mind" a song that every other singer I've ever heard has managed to make both bland and pretentious is lovely when Dusty sings it.
And that's just the original album. The Deluxe edition added 14 bonus tracks. Most bonus tracks are just some junk tacked on to make you believe you're getting more for your money. These are every bit as good as the original album. I would have cut "Cherished" not really a terrible song, but not quite up to Springfield standards. But everything else is fabulous. "That Old Sweet Roll" (yes, the Blood, Sweat and Tears song) and "Goodbye" are especially good. And "Natchez Trace" was a revelation. Who knew Dusty Springfield could rock?

I'm just sorry it took me so long to find this album.

Download Link (original album 224 @ )

Dusty_Springfield_-_1969_-__Dusty_in_Memphis.rar

14 bonus tracks

dusty_in_memphis.rar

17_-_make_it_with_you.rar

Saturday, April 21, 2007

Malo (3 Albums)

We have posted the first Malo album in rock section.

Here is the next 3 albums of a group which mix Latin Rock, Funk and Soul.

In 1970 the Malibus changed their name to Malo and things started happening with a guitarist was brought in by the name of Jorge Santana, the brother of the already famous Carlos Santana. At times numbering as many as ten or more musicians, Malo's powerful sound was different to that of Santana in that the line-up included a serious horn section, which included, at various times, leading trumpet player Luis Gasca, as well as percussionists Coke Escovedo, Francisco Aguabella, Victor Pantoja and Richard Bean (of Sapo fame).They were signed to Warner Brothers Records and recorded their first album, which was simply entitled "Malo" (BS-2584). Arcelio co-wrote four of the six songs, including their classics "Nena" and "Cafe." Released in 1972, "Malo" also included “Suavecito," their biggest hit.

Dos 1972

01 Momotombo 5:06
02 Oye Mamá 6:03
03 I'm for Real 6:39
04 Midnight Thoughts 3:58
05 Helá 5:06
06 Latin Bugaloo 9:31
07 I'm for Real (45 version)
08 Oye Mamá (45 version)
09 Latin Bugaloo (45 version)

A seminal bit of Latin funk from the Bay Area scene of the early 70s the second album from Malo, and an even harder hitting jam session than the first! The group are really in top form here taking off with Santana-inspired riffs that are filled with heavy percussion, soaring organ, and guitar from Carlos' brother Jorge all matched by some incredible horn work from trumpeter Forrest Bachtel and a young Hadley Caliman sounding especially great here before his solo years as a jazz artist! The legendary Francisco Aguabella is on conga, and tracks include "Momolombo", "Oye Mama", "I'm For Real", "Midnight Thoughts", "Hela", and "Latin Bugaloo

Download Link :
Malo_-_1972_-_Dos.rar

Evolution 1973

01 Moving Away 7:17
02 I Don't Know 6:04
03 Merengue 7:03
04 All for You 4:04
05 Dance to My Mambo 4:40
06 Entrance to Paradise 5:09
07 Street Man 5:05
08 I Don't Know (45 version)
09 Merengue (45 version)

Malo may be evolving a bit, but they're still right in the pocket as far as we're concerned! This excellent west coast Latin ensemble mixes together jazz, funk, soul, and slight touches of Chicano rock -- into a heavy groove that was one of the best-conceived at the time. Jorge Santana lays down lots of heavy guitar licks, Francisco Aguabella's on percussion and congas, and Ron DeMasi plays plenty of hot lines on the Hammond organ and electric piano. Titles include "Moving Away", "I Don't Know", "Merengue", "Street Man", and "Entrance To Paradise".

Download Link :
Malo_-_1973_-_Evolution.rar

Ascension 1974

01 Offerings 05:40
02 A la Escuela 03:15
03 Everlasting Night 04:10
04 Latin Woman 04:05
05 Chévere 03:58
06 Love Will Survive 03:47
07 Think About Love 03:26
08 Tiempo de Recordar 03:17
09 Close to Me 02:40
10 No Matter 06:55

This one's a bit tighter than some of the group's earlier albums -- but still equally funky, and still very nice! Malo are at the top of their form here -- grooving hard with great guitar from Jorge Santana, tight congas from Francisco Aquabella, sweet organ from Ron De Masi, and great vocals by the whole group -- all wrapped up with a warm sound that's totally great. The best cuts have that choppy Chicano funk sound that was the West Coast's best contribution to Latin music during the 70s -- and many numbers have strong jazzy elements on the solos. Titles include "Tiempo De Recordar", "Chevere", "A La Escuela", "Offerings", and "Latin Woman

Download Link :
Malo_-_1974_-_Ascension.rar

Ross Daly, Djamchid Chemirani & Irshad Khan - 1989 - Cross Current

1. Kurdilihijazkar Saz semai
2. Syrtos Dance of Western Crete
3. Zarif
4. Akyel
5. Iptidadan yol sorarsan
6. Dance tunes from the Black Sea
7. a) Ro Ro Keda b)Naoum Jaffani
8. Folk Song from Azerbaijan

Ross Daly's journey in the music of the world is inseparable from the course of his life. Of Irish descent, born in England, he travelled as a child with his family around the world and soon his deep interest in music emerged. His first instrument was the cello, which he studied in his childhood years in America. He later began studying the classical guitar in Japan at the age of eleven. The late sixties found him in San Francisco, where having experienced both the classical discipline and the air of freedom and experimentation of the time, he first encountered Eastern musical traditions which completely changed his life. Of particular interest to him was Indian Classical music which was destined to be the first non-western tradition that he actively studied. The ensuing years found him travelling extensively studying a variety of instruments and traditions. At that time his main emphasis was on Indian and Afghani music.
In 1975 he travelled to Crete which he had previously visited for a short time in 1970 and 1972 where he had been greatly impressed by the lyra (a small pear-shaped upright fiddle which is the primary folk instrument of the island). After a six month period of wandering from village to village encountering local musicians, He settled in the town of Hania on the west of the island and began studying the Cretan Lyra with its great master Kostas Mountakis. This apprenticeship was to last for many years. During this same time he frequently visited Turkey where he studied Ottoman classical music as well as Turkish folk music. After many years of intensive training in a variety of musical traditions, Ross Daly turned his attention largely to composition drawing heavily on the various sources that he had studied. Today he has released more than twenty five albums of his own compositions as well as of his own versions of traditional melodies that he collected during his travels. The island of Crete in Greece still provides a base for his personal and musical research as he travels around the world performing his music.

Amsterdam, the Netherlands - Irshad Hussain Khan died in Amsterdam on March 5th, at the age of 29. His health had been declining for a couple of years and he died of total exhaustion.

Music, especially the music of India, was his passion. Irshad was a well respected tabla player and his playing was characterized by technical virtuosity and tonal quality.

Irshad stemmed from a long line of Indian musicians (the Jaipur Gharana). His father Ustad Zamir Ahmad Khan, also a tabla player, introduced him to the tabla at the age of three. Irshad's approach was strongly based on the old styles and the traditional repertoire, but he combined this with much of his own improvisational creativity.

As a very promising tabla player of the younger generation he has had the opportunity to accompany many great musicians of Indian classical music such as: Pandit V.G. Jog, Ustad Munir Khan, Pandit Hariprasad Chaurasia, Ustad Sayeeduddin Dagar and G.S.Sachdev.

Irshad was always open for new possibilities and combinations with different musicians, styles and traditions. He performed with many well-known musicians in the fields of jazz and worldwide music traditions such as: Theo Loevendie, Joachim Kühn, David Vriessen, Philip Catherine, Ross Daly, and with percussionists like the Iranian zarb maestro Djamchid Chemirani and the African master drummers Fodé Youla, Adama Dramé, Omar Diabaté and Alfa Camara.

Irshad recorded and produced numerous CD recordings. He recorded a solo tabla album for Pan Records. His last production, released just several weeks before his death, was an album with the sarangi playing of his grandfather Ustad Munir Khan.

Jamsid Chemirani was born in tehran in 1942. he has studied the tombak since the age of eight. His teacher was Ostad Hosain Tehrani. Under his demanding tutelage, Chemirani made rapid progress and soon became a brilliant player. Since his arrival in Paris in 1961 he has taught at the Centre d'Etudes de Musique Orientale in the Paris Sorbonne Institut de Musicologie. He has performed with eminent Iranian musicians Darioush Safvat, Daryush Talai and madjid Kiani.

Download Part 1: http://rapidshare.com/files/27100043/rd1.rar

Download Part 2: http://rapidshare.com/files/27109931/rd2.rar

Friday, April 20, 2007

Jimmy Castor Bunch - 1972 - It's Just Begun

Wickedly fuzzy funk! Jimmy Castor recorded in a lot of different styles during the 70s, but the one he used on this album is still his best! The record's a non-stop guitar-heavy batch of classic funk tracks and it features the storming break track "It's Just Begun", the funky goofy "Troglodyte", and plenty other nice moments like "Bad", "LTD", "I Promise To Remember", and "Psychee". Fuzzy guitar meets heavy drums meets some of the most insane lyrics ever on a mainstream funk album! One of our most requested records and for good reason! If you've ever bought a lousy Jimmy Castor album throw it away, and buy this one!

Tracks
A1 Creation (Prologue) 1:24
A2 It's Just Begun 3:43
A3 Troglodyte (Cave Man) 3:36
A4 You Better Be Good (Or the Devil Gon' Getcha) 2:56
A5 Psyche 4:25
B1 L. T. D. (Life, Truth & Death) 7:20
B2 My Brightest Day 4:03
B3 Bad 3:34
B4 I Promise to Remember 2:47
B5 Creation (Epilogue) 1:02


It's Just Begun is Castor's masterpiece, the most fully realized example of his vision and his most successful album to boot. In addition to tapping into his doo-wop and Latin soul roots, The Jimmy Castor Bunch had developed a relentlessly funky groove, with full-bodied churning bass, ultradistorted fuzz-tone guitar, and layered percussion. "Troglodyte (Cave Man)," which exemplifies this, was one of the monster records of '72, rising to #6 on the pop charts by May of that year, as well as being one of the discs that refined that coining funk explosion of the mid -70s. Opening with a spoken word introduction (which would become a favorite sample of old school rap DJ Afrika Bambataa at New York's Boxy disco)-"There was a time when men lived in caves.... Now we're gonna go back, way back . . cave men, cave women, Neanderthal, Troglodyte!"-the groove fades in. and Castor begins the wild and woolly tale of primitive love. It's funny, menacing, and funkier than anything that had come before it.

There had never been a groove this fat blasting out of AM radio. Castor's approach to prehistoric sexism was so obviously tonque-in-cheek and full of good humor that even in those heady years of social outrage and the women's movernerit (remember this was the same year that John Lennon was to inform us that "Woman Is The Nigger Of The World"), nary a ferri complained, to the contrary, the song's central figure-Bertha Butt (one of The Butt Sisters)-would become (along with the aforementioned Leroy) Castor's most beloved character, Ending with the echo-laden scream 'Hot i Hut Pants!" "Tioglodyte (Cave Man)" is one of the pinnacle moments of '70s funk.

"It's Just Begun," the Lo's title track, has never been issued as a single but remains one of Castor's best-known classics. The track turned up in Flashdance arid Beat Street in the film's big break dance "battle" scenes. It also can be found as a sample on Countless rap discs and is heard on the dance floor to this day (thanks to many bootleg 12" singles that made the rounds in the '80s). 'It's Just Begun was probably too far ahead of its time to be a hit in 72 when it was issued; today it sounds totally contemporary, with Castor's blaring sax figure riding over both fuzz-tone and wah-wah guitar rifts and a groove to end all grooves. "Just watch me now!" shouts Castor, and this time the whole world vivas watching, and listening.

Download Link :
jimmy_castor_bunch_-_1972_-__it_s_just_begun.rar

Thursday, April 19, 2007

Dramatics - 1972 - Whatcha See Is Whatcha Get

A fantastic album by The Dramatics -- with a harder funkier sound than you'll find on most of their other LPs! The record has the group moving into a post-Temps righteous soul vein -- grooving hard on the cuts "Get Up and Get Down" and "Whatcha See Is Whatcha Get", as well as the drug reference cut "Marry Don't Cha Wanna", one of those messed-up lyric numbers we'd expect from a Latin Soul group! Also features the amazing ballad cut "In The Rain", which has some of the sweetest soul production you'll ever find on the Stax label!

Tracks
1 Get Up and Get Down (3:10)
2 Thank You for Your Love (4:25)
3 Hot Pants in the Summertime (3:57)
4 Whatcha See Is Whatcha Get (3:56)
5 In the Rain (5:08)
6 Gimme Some (Good Soul Music) (1:34)
7 Fall in Love, Lady Love (3:34)
8 Mary Don't Cha Wanna (3:25)


The Dramatics had been around in one form or another for nine years before the members got to release their first LP, and the result was a pair of breakthrough hits over the spring and summer of 1971, beginning with the title track, a Top Ten single that boasted not only extraordinary singing from bass to falsetto, but a soaring, punchy horn arrangement and some of the best fuzztone guitar heard on a hit record since the Rolling Stones' "Satisfaction." The Afro-Cuban-flavored "Get up and Get Down" followed it into the R&B Top 20, and the Whatcha See Is Whatcha Get album followed them both. It was the third hit off of the album, "In the Rain," a delicate ballad that was issued separately as a single in early 1972, topping the R&B charts and reaching number five on the pop charts, that solidified the group's reputation and elevated them to the front rank of '70s soul acts. The album showcased the group equally well doing up-tempo dance numbers ("Mary Don't Cha Wanna") and ballads ("Thank You for Your Love," "Fall in Love, Lady Love"), melding very attractive vocals to arrangements that instantly grabbed the listener, all of it pulled together by songwriter/producer Tony Hester. Even the lesser material, such as "Gimme Some (Good Soul Music)" -- on which Hester knew that one minute and 34 seconds was all that was needed to make its point -- were so attractive and rousing that they easily carried their portion of the album, whose short running time was its only flaw. All of the members, from Willie Ford's powerful bass to Ron Banks' airy falsetto, were presented to best advantage, but none more so than William "Wee Gee" Howard's lead vocals; ironically, this would be Howard's only completed album with the group, and their only album for two years to come because of the accompanying personnel problems. Still, it's a match for any soul album of its era.

Download Link :
dramatics_-_1972__watcha_see_is_watcha_get.rar

Panal (Chile) - 1973 - Panal

Panal (Chile) - 1973 - Panal

01 Paisajes de Catamarca
02 Si Somos Americanos
03 Alma Llanera
04 Limepa
05 Recuerdos De Ipacarai
06 Cucurrucucu Paloma
07 El Humahuaquepo
08 Lamento Boricano

Rare Latin Funk Rock Psych LP of Chilean group Panal (ex-Aguaturbia's Carlos Corales & Denisse)

Carlos Corales - guitar
Denisse - vocals
Jose “Pepe” Ureta - bass
Patricio Salazar - drums
Ivan Ahumada - percussion, vocals
Juan Hernandez - percussion, vocals
Francisco Aranda - organ, vocals

I can't find any info in English...

Wednesday, April 18, 2007

Zion Train - Love Revolutionaries

Track Listing and Credits
1. Freedom (cod, tench, perch, molara)
2. Building Rome (cod, tench, perch, molara)
3. Speaker Shaker (cod, tench, perch, hake, forkbeard)
4. Flag (cod, tench, perch, molara)
5. Movement Of The People (cod, tench, perch, hake, forkbeard)
6. Fly (cod, tench, perch, molara)
7. One Inch Dub (cod, tench, perch)
8. Beware (cod, tench, perch, hake, forkbeard)
9. Free Heart (cod, tench, perch)
10. War In Babylon (cod, tench, perch, macka B)
11. Rocker's Revival (cod, tench, perch)
12. Dubzilla (cod, tench, perch)
13. Ohm Shiva (cod, tench, perch)

Zion Train are Dub/Dance pioneers and have been undisputed leaders in the genre for more than 15 years. The band are heavily involved in alternative and DIY underground culture and have been since the 90s as well as being purveyors of the finest Roots Reggae music throughout this period. They are one of the finest live dub acts in the world and promoted the practice of dynamic onstage dub mixing which they perform alongside acoustic instruments and the best live vocalists.

Zion Train was founded by Perch (live dub mixing/production), in 1990 and he was later joined by Cod (melodica/production), Tench (production), Molara (voice), Hake (trumpet), and Forkbeard (trombone). Between 2001 and 2005 Dubdadda added extra live vocals and Bigga replaced Forkbeard on trombone in 2001. The live line-up has always been very flexible, varying from Perch and a vocalist for sound-system gigs, to the full lineup for larger events. From 2006 Molara concentrated on her solo projects and Zion Train live features a variety of renowned vocalists including Dubdadda and Brother Culture alongside Earl 16, Tippa Irie and YT.

This was the first LP after relocating to West Wales from Tottenham and the first post Warners release. It was recorded very slowly through 1998/99 and was mixed in front of a 3k Sound System (thanks to Inner State and Armagideon Sounds for that).
Most of the vocals were recorded on an SM58 in front of the rig. The band were much more interested in vibes than separation and were extremely happy with the results.
Molara sounds beautiful throughout and there is a relaxed nature which comes through the vocals and the music. The dubs are as deep as they have ever been and the pop songs are something we're proud of.

Many people, John Peel and Andy Kershaw included, called this a return to form and we even got a 3 star review in Q magazine.

The mixing was done on an Allen & Heath Saber desk which we brought from Simon Afro Celt and a Mackie 32-channel 8 bus. The Sabre was apparently used extensively by Soul II Soul at Swanyard and 'Keep on Moving' was mixed on it.

All of Zion Train's music is made primarily for the band and they are philosophical about 'pleasing' fans or the transient nature of the music business. Of course they want to be liked but ultimately the goal is for us to enjoy what we are doing and keep developing, mistakes and all.

'Love Revolutionaries' is an innovative collage of dub sounds by Zion Train. Beautiful singing, mad and funky electronica sounds, heavy and soulful bass are blended together (plus more) to give an ultimate balance of chilled cheekey and hypa vibes. 'Speaker Shaker' is a must-have track to keep you smiling and will energise you to the maximum happiness. This wicked and funky track is slightly contradicted my the bazaar and overly hyperactive sounds of 'War in Babylon,' but overall it is an excelent mixture of new dub, guarenteed to chill right through to the bones and occasionaly send shivers down your spine!
Kinna, London.

ENJOY
http://rapidshare.com/files/24135735/Zion_Train_Love_revolutionaries.rar

We will see the band live at 2007 legalize canabis festival in Athens 04/05/2007

5th Dimension - The Age Of Aquarius

A tour de force of excellent singing and vibrant musicianship, The Age of Aquarius finds the Fifth Dimension soaring vocally through some standout material, including songs by Laura Nyro (a powerhouse cover of "Blowin' Away"), Jimmy Webb, and Neil Sedaka.

ToTal EaR CaNdY!

Tracks
1 Aquarius/Let the Sunshine In (The Flesh Failures) (4:51)
2 Blowing Away (2:32)
3 Skinny Man (2:51)
4 Wedding Bell Blues (2:44)
5 Don'tcha Hear Me Callin' to Ya (3:56)
6 Hideaway (2:45)
7 Workin' on a Groovy Thing (3:10)
8 Let It Be Me (3:54)
9 Sunshine of Your Love (3:18)
10 Winds of Heaven (3:14)
11 Those Were the Days (3:03)
12 Aquarius/Let the Sunshine In (1:29)
13 Chissa Se Tornera Who Knows If He Will Return (3:00)


The Reviews

1
I had forgotten just how excellent this recording is. The old vinyl fell by the wayside a long time ago so I was pleased to see this tremendous Fifth Dimension album finally available on CD. While there are so many truly wonderful Fifth Dimension recordings, this one is by far the best. There is not one bad song on this album. Of special merit are the songs "Hideaway" (a Jimmy Webb tune given a jazzy, infectious treatment) and "Sunshine Of Your Love" (a masterful remake of the Eric Clapton/Cream classic.) This CD went from my home stereo to my car stereo because I just couldn't get enough of it. I seem to love it more today than I did years ago when it was first released; and it still seems so fresh today. They just don't make songs or albums like this anymore. And, there are certainly no groups like the Fifth Dimension anymore.

2
The Age of Aquarius, the 5th Dimension's fourth album, was the group's commercial peak. They had already topped the charts with their medley of two songs from the Broadway musical Hair, "The Age of Aquarius" and "Let the Sunshine In (The Flesh Failures)," a platinum single that would earn them Grammy Awards for Record of the Year and Best Contemporary Vocal Performance, Group, when they released this album. It turned out that was only the tip of the iceberg: They returned to number one with another platinum single, "Wedding Bell Blues," penned by Laura Nyro, who had given them "Stoned Soul Picnic" the year before. And the album also spawned Top 40 hits in Nyro's "Blowing Away" and Neil Sedaka's "Workin' on a Groovy Thing." The 5th Dimension were the successors to the L.A. vocal group mantle passed on by The Mamas and the Papas (they even inherited the studio band of Hal Blaine, Joe Osborne, and Larry Knechtel). They smoothed out and commercialized everything they sang, and their work had a sheen and a zest that sometimes contrasted with the original tone of the material. On Broadway, the Hair songs seemed full of hippie rebellion; here, they seemed enthusiastic and optimistic. In a conflicted time, the 5th Dimension thrived on their ability to equivocate, and this album was their triumph -- just listen to them harmonize on "Sunshine of Your Love"!

Download Link :
5th_dimension_-_1969___the_age_of_aquarius_lp.rar

Monday, April 16, 2007

Bootsy's Rubber Band - 1976 - Stretchin' Out

This is truly an all-time classic! Every single track is a soulful funky masterpiece

After working with James Brown for three years, William "Bootsy" Collins moved over to join George Clinton's Parliament/Funkadelic. By 1976 it was time for Bootsy to take his space bass and go solo. He continued in the P-Funk vein, creating imaginary characters, whimsical lyrics, and, most important of all, some of the nastiest funk known to humankind. Stretchin' Out In features some of his best-known songs, including "Stretchin' Out (In A Rubber Band)" and "I'd Rather Be With You."

Tracklisting:
A1 Stretchin' Out (In A Rubber Band) (6:52)
A2 Psychoticbumpschool (5:20)
A3 Another Point Of View (7:02)
B1 I'd Rather Be With You (5:03)
B2 Love Vibes (4:51)
B3 Physical Love (4:49)
B4 Vanish In Our Sleep (5:46)


The Reviews

1

Everybody whose every heard this album must agree, it's one of the best records ever made, regardless of category. Not only is Bootsy's debut solo project his best, but it's, arguably, the best in the extensive Parliafunkadelicment Thang catalog. Each tune is a musical, comic statement. "Physical Love" is, actually, important: a song that literaly explains what so many of us have had to deal with our whole lives: "Physical love is not from above and now that he's gone then so is love." What a lyric, what a record!

2

Bootsy's first solo album as a leader -- and a masterpiece of slow bassy funk that set the tone for countless other groups to come! Bootsy steps into the spotlight with a tremendous amount of confidence and personality on the record -- emerging as the one real star that could shine brightly on its own in the P-Funk galaxy -- oozing personality, sexuality, and super-funky grooves throughout! George Clinton's helping Bootsy out on production a bit, and the rest of the P-Funk regulars are in the group as well -- but the album's clearly Bootsy's own, and takes mainstream funk into a whole new sound -- one that would really set a high bar for much of the west coast scene in years to come! Includes the massive "I'd Rather Be With You" -- plus "Physical Love", "Love Vibes", and "Psychoticbumpschool".

3

Serious funk all around on this release, with the everlasting track, "stretchin' out(in a rubber band)" leading the way in an all out funk jam!! this has also got to be one of my favorite album covers of all time. oh, and the breakdown on"psychoticbumpschool" is just off the chain! monster funk forever.
A little more straight forward than parliament/funkadelic and just wonderful! Some of his best stuff is on here, the title track is so funky, it will make you jump out of your skin! Everybody involved here is a master on his instrument, just check this one out and move your butt!

Download link
bootsy_s_rubber_band_-_1976_-_stretchin__out.rar

Saturday, April 14, 2007

Laura Lee - 1971 - Women's Love Rights

Another rare lost gem.

Her voice is raspy & soulful, and she can get a song across. Listen to such singles as: Women's Love Rights, Since I Fell For You, Love & Liberty

Tracks

1. Women's Love Rights
2. Wedlock Is a Padlock
3. I Don't Want Nothin' Old (But Money)
4. (Don't Be Sorry) Be Careful If You Can't Be Good
5. Love and Liberty
6. It's Not What You Fall for, It's What You Stand For
7. Since I Fell for You
8. Two Lonely Pillows
9. That's How Strong My Love Is
10. Her Picture Matches Mine

A tough '60s soul singer with a salty sense of humor (aimed mostly at the men in her life), Laura Lee recorded at Rick Hall's ~FAME studio in Muscle Shoals for the Chess label, and later for Hot Wax. In songs like "Wanted: Lover, No Experience Necessary," "A Man with Some Backbone," and the anthemic "Women's Love Rights," the female experience was brazenly discussed, debated, kicked around, and, finally, celebrated. Her music laid the groundwork for artists like Millie Jackson and Denise LaSalle to expand this proud, sexy, brash-talking corner of "women's" soul music. Lee had a country-soul, romantic side as well, as shown on her splended version of the Penn-Oldham classsic "Uptight Good Man."

Lee is a fine, versatile, saucy singer whose work deserves more attention. Biggest hits: "Rip Off" (#3 R&B), "Women's Love Rights" (#11 R&B, #36 Pop), "Dirty Man" (#13 R&B) and "Up Tight, Good Man" (#16 R&B).

At the exact moment when the women's liberation movement first threatened to descend into the banalities of middle class enlightenment (as it eventually did), Detroit-born Chicago-bred Laura Lee erupted on the R&B charts with this hard-boiled, exploitive, round-house punch. The arrangement is strictly Honey Cone pop-rock. What gives this song its edge is the gutsy yelp she picked up from Aretha Franklin when both were working at Rick Hall's Hall of Fame in Muscle Shoals. "Love who you wanna," she cries. "Cause a man's sure gonna." After suggesting a litany of demands (including weekly dinners at fine restaurants, a set of her own car keys, and regular shopping sprees--all at the man's expense, mind you), Lee cracks the arrangement down the middle as she barks out her justification for such an attitude: the man's probably got three other girls he's supporting across town, so why shouldn't you get as much as you can? None of this may bode accurately for male-female relationships then or now (personally, we'll take Loretta Lynn's more durable and action-oriented hostility any day), but just for the guts required to raise such a rucuss, this song is worth coveting.

Download link
laura_lee_-_1972_-_women_s_love_rights.rar

Wednesday, April 11, 2007

Heaven and Earth - 1976 - I Can't Seem To Forget You

I first discover it 3 years ago, i loved it and try to find the vinyl. Finally i pay 50 Usd on ebay a few days ago. It is an underrated group. An incredible harmony group from Chicago. The vocals are superb, high, then low, then high again.

This is their debut and best effort.

Extremely rare. You won't find it anywere with covers.

So get it.

Tracks

1. Let Me Back In

2. Now That I've Got You, I'll Be Flying High

3. Happy

4. The Window Lady

5. I Can't Seem To Forget You

6. If It was Me

7. Nature's Miracle

8. The Message

9. I'll always love You

The Review

The classic first LP by this stellar Chicago harmony group and a monster! Heaven & Earth had a wonderful falsetto harmony sound that reminds us a lot of east coast winners like Blue Magic or The Stylistics and like some of the best east coast groups, this group's vocals work equally well on slow ballads or faster uptempo numbers, both of which are handled extremely well on the record by producer Clarence Johnson. The bulk of the arrangements on the record were done by Tom Tom 84 -- one of Chicago's true soul geniuses, and in perfect form on this record. The whole thing's amazingly well put together for an indie soul group album -- and is a sure indication of the group's later fame on Mercury. Titles include "Nature's Miracle", "The Message", "I'll Always Love You", "Let Me Back In", and "I Can't Seem To Forget You".

Bio

A vocal quartet that originally went by the name the Soul Majestics, and consisted of brothers Dwight Dukes (falsetto/lead tenor) and James Dukes (bass), Keith Steward (tenor) and Michael Brown (baritone). Under the direction of producer Clarence Johnson, they recorded four albums as Heaven Earth: one for General Entertainment Corporation (GEC), three for Mercury (Phonogram) and one for WMOT. Brown recorded on the first album and subsequently departed the group in 1978 and was replaced by Dean Williams. Williams recorded on the second album, and he too then departed, being replaced by Greg Rose.

The group could not manage to retain a compatible fourth member, whose vocal input was essential considering he was the baritone. In 1982, Dwight Dukes departed the group and formed the trio Cashmere with McKinley Horton and Daryl Burgee, recording on Philly World Records. Later that year Steward joined the group, and shortly thereafter Heaven Earth disbanded. Even though the Chicago-based quartet didn't shake up the charts with their releases, their recordings were absolute quality. In particular, the tracks written and produced by the songwriting/production team of Rodney G. Massey and Lawrence Hanks. Heaven Earth is a must listen for vintage RB lovers.

Download Link :

heaven___earth_-_1976_-__i_can_t_seem_to_forget_you.rar

Veneno - 1977 - Veneno

Veneno - 1977 - Veneno

01. Los Animales (5:36)
02. La Muchachita / Canción Antinacionalista Samorana (8:46)
03. Indiopole (3:45)
04. Los Delincuentes (4:49)
05. Aparta El Corazón De Las Mangueras (6:59)
06. San José De Arimatea (2:59)
07. No Pido Mucho (2:51)

"Veneno" (1977) is indispensable in the history of new flamenco, because it opened up the path towards fusion, at least with pop music. It was the best record by Veneno, a short-lived band, led by Kiko Veneno and Raimundo Amador, who names Triana as the true pioneers of this genre.

Jose Maria Lopez Sanfeliu (Gerona, 1952). Surprising creature who came on the scene in 1977 with a musical group and an album ("Veneno") which represented a ripe fruit which was to revolutionize the ideological and aesthetic aspects of the world of flamenco. Savage and flamenco guitars, bounded to provocatively spontaneous lyrics, at the same time popular, bitter-sweet and ironical: a totally new vision-inspiration and realization of the art of being flamenco. The first followers of this Catalan born - yet Sevillian of heart - man were the Amador brothers, who on their part were already menacing to bring him to the deeper roots of the "jondo"; the result: Modern flamenco with a spicy Sevillian taste.

Kiko Veneno thinks that the classical flamenco died a quarter of a century ago (after having studied Philosophy and having asked for a leave from his county council job at Seville in order to dedicate himself fully to music), and he is an essential character in the new expressions of flamenco fusion with other styles, as well as the protector and supporter of tremendous events such as the formation of "Pata Negra" or the discovery of the iconoclastic singer of "coplas" "Martirio".

Tuesday, April 10, 2007

Loleatta Holloway - 1976 - Loleatta

Fantastic album! Worth for "Hit And Run" alone. Loleatta wails and belts out with amazing power, and the music is classic Salsoul with thumping drums and bass, crispy guitar, lush violins and sassy brass. "Dreamin'" and "Ripped Off" are equal shake-your-butt disco tracks with powerhouse performances. She cries her heart out on the ballads, including the gorgeous "Is It Just A Man's Way" and her version of "That's How Heartaches Are Made".

Tracks

1 Hit and Run (6:01)
2 Is It Just a Man's Way? (3:46)
3 We're Getting Stronger (The Longer We Stay Together) (4:37)
4 Dreamin' (6:21)
5 Ripped Off (4:53)
6 Worn Out Broken Heart (5:38)
7 That's How Heartaches Are Made (3:04)
8 What Now? (6:21)


The Review

In 1976, Loleatta switched to the Salsoul distributed Gold Mind Records, to which she had been introduced via its owner, the late Norman "The Harris Machine" Harris. Harris was a brilliant guitarist and together with Ron Baker (bass) and Earl Young (drums), formed the prominent production/song writing/arranging/musician team of B-H-Y. The trio had been active on Philadelphia's Soul/Disco scene since the early sixties and made up M.F.S.B.'s rhythm section. In addition to playing on countless sessions, B-H-Y were an integral part in Salsoul's correspondence to M.F.S.B.; The Salsoul Orchestra, i.e. a massive studio band which successfully recorded in their own right, as well. Besides Loleatta, Baker, Harris and Young wrote, produced and played behind First Choice and Double Exposure, groups they had brought to Salsoul's roster and which were some of the label's best selling acts. Loleatta's debut single on Gold Mind, "Worn Out Broken Heart", which reached #25 on Billboard's R&B charts in November of '76, was nowhere near the sophisticated Disco her name is so tightly connected with today. Produced by Floyd Smith, the song was yet another Sam Dees ballad and Loleatta's further output would continue to mix danceable material with soulful balladry. The B-side of "Worn Out Broken Heart", "Dreamin'", was a Billboard Hot 100 hit. Both "Dreamin" and the follow-up "Hit and Run" were produced by Norman Harris and filled dance floors everywhere. Loleatta's first LP on Gold Mind, simply entitled "Loleatta", was issued in 1977. Three tracks were recorded in Chicago and produced by Floyd Smith, the remaining five at Sigma Sounds in Philadelphia and featured B-H-Y's fellow M.F.S.B colleagues and Philly luminaries Ron Kersey (keyboards), Larry Washington (percussion), Bobby Eli, Roland Chambers (guitars), parts of M.F.S.B's string and horn section, plus Vince Montana, Jr. (vibes). Mr. Montana co-wrote Loleatta's next smash, "Runaway", which was a joint venture between Loleatta and The Salsoul Orchestra.

Download Link :
loleatta_holloway_-_1976_-_loleatta.rar

Monday, April 9, 2007

Gal Costa - A Todo Vapor (live) (1971)

Absolutely stellar live set from Gal Costa, equally balanced between beautiful voice-and-guitar numbers and full-on full-band psychedelia. Marvelous stuff! It's a long CD so the file has been split into two parts.

Get part 1 HERE and part 2 HERE.

Friday, April 6, 2007

Maxayn - 1972 - Maxayn

It is extremely rare to find this masterpiece, especially with the

lp's covers. So get it at once. You won't find it anywhere!

Maxayn (featuring Maxayn Lewis) . This was w-a-a-a-a-a-y ahead of its time, even in 1972 the year of its release. How to describe Maxayn: Hmmm... Think Sly and the Family, merged into Patti Labelle, with a touch of Chaka Khan and you'd have a slight clue. This funky heady spiritual, mean rocking stuff.

The songs each and every one of them are so well written, so soulfully sung, so electronically advanced, so very different and so what if no one ever heard it! Some albums are like hidden treasures. Those of us who own them, selfishly keep them to ourselves. When we're alone, we pull turn to them like secret friends the oddly special kind that only we can possibly love, understand, or appreciate their rare and wonderful beauty.
I'll keep my Maxayn and all the deliciousness she and her band have to offer to my damn self. Just know it is one of my all time favorite orphans.

Selected Discography:
Maxayn by Maxayn, Capricorn, 1972
Mindful by Maxayn, Capricorn, 1973
Bail Out for Fun by Maxayn, Capricorn, 1974
Mandre by Mandre, Motown, 1977

Maxayn is a group. Maxayn Lewis was a member of that group. I want to make clear that Ms. Maxayn Lewis was just one part of a strong collective including Andre Lewis, Emilio Thomas, and fellow super-session musician Marlo Henderson (later, Hank Redd). But, as you see, the band was named after her, featured her as a leader, and plastered her face on all album covers. So any confusion between whether Maxayn was a group or a solo act is completely warranted.

Maxayn (the band) was a brilliant showcase for the songs and voice of this sister, who also doubled as a talented pianist and French horn player. The group did not have much commercial success, though their music is respected by fans of rare groove and is remembered fondly by those who had hip musical tastes in the early 70s. Their music was part funk, part gospel, part Roberta Flack-ish introspective soothers. And Maxayn's voice played the part at all times, whether it was to belt out the grittier soulful tunes with toughness or use a more subdued, relaxed style for the slower numbers.

Their/her music reminds me of what Lauryn Hill does today with her work. By combining spiritual grooves, an assertive attitude, updated urban sounds, and plenty 'o soul and funk, whatever Maxayn and her comrades did worked, and we've got 3 (out-of-print) albums to show for it. However, when the Maxayn band called it quits in 1974, the group did not die. Rather, it morphed into one of the strangest projects that the Motown label has ever recorded. This new group, born in 1977, was called Mandre and kept the core of the Maxayn group intact. This time the concept was futuristic space funk/disco complete with tons of synthesizers and blipping electronics. Maxayn's hubby Andre was at the helm, and album covers featured illustrations of his face covered by a mask, apparently (according to an insider) because Motown thought Andre was too ugly to show a picture of. Ms. Lewis was no longer singing lead in this group, but doing backup vocals, as well as songwriting and playing. And the Motown promotions machine tried to hype Mandre as being "funkier than Parliament." No one else seemed to think so, and after three albums, Mandre finally funked itself out in 1979.
By the early 1980s, Maxayn (the woman) was singing on albums by the Gap Band. Today, I have no idea what she is doing. But I hope she is still around somewhere to enjoy the respect that she has earned in the burgeoning rare groove collectors' community.

Download Link :

maxaxy_-1972_-_maxayn.rar

Thursday, April 5, 2007

Rikki Ililonga - Soweto (197?)

I can find virtually no information about this album. Rikki Ililonga was a Zambian musician who had one track featured on the African volume of the Love, Peace, and Poetry psych compilation series. This album is most definitely from a later period than the track on the LP&P comp., though I suspect it's still from the 1970s. More funky, less psychy, with some catchy tracks and some cool analog synth moves on the first cut. This album isn't a mindblower on the order of Ofege's "Try and Love" (available HERE) or The W.I.T.C.H.'s "Lazy Bones!!" (get that one HERE), but certainly still worth a couple of listens. My rip from vinyl, with front cover, rear cover, and label pics.

Get it HERE.

Wednesday, April 4, 2007

Aretha Franklin - 1968 - Lady Soul

The best black female singer of the 20th century. This is a stunning album. the definitive late 60's Aretha Franklin, bold, beautiful, vulnerable, earthy, sexy, defiant, spiritual and strong.. Full of great songs.

A seminal session that furthered her deep soul agenda with key backings from Arif Mardin and Tom Dowd! The Sweet Inspirations provide sublime backing vocals behind Franklin's maturing delivery of the lyrics -- and the music is by an all-star group of players that includes Spooner Oldham, Bobby Womack, Jimmy Johnson, King Curtis, Tommy Cogbill, Roger Hawkins, and even Eric Clapton!

After all, she is the Queen, the Lady Soul!!

Tracks
1. Chain Of Fools
2. Money Won't Change You
3. People Get Ready
4. Niki Hoeky
5. Natural Woman, (You Make Me Feel Like) A
6. Since You've Been Gone (Sweet Sweet Baby)
7. Good To Me As I Am To You
8. Come Back Baby
9. Groovin'
10. Ain't No Way
11. Chain Of Fools - (unedited version)
12. Natural Woman, (You Make Me Feel Like) A - (mono single version)
13. Since You've Been Gone (Sweet Sweet Baby) - (mono single version, )
14. Ain't No Way - (mono single version)


The Reviews

1

Ranked #84 in Rolling Stone's "500 Greatest Albums of All Time," Aretha's position as soul music's premier female vocalist was consolidated by Lady Soul. Her strident reading of “Chain of Fools” set the tone on which the singer unveiled several stellar original compositions and reinterpreted a batch of classic songs. Franklin's gospel roots were clearly displayed on “People Get Ready” while her interpretation of “(You Make Me Fell Like A) Natural Woman” showed both her vulnerable and assertive qualities. The album also features the fine soul ballad "Good to Me as I Am to You" with Eric Clapton on guitar. Lady Soul captures a performer at the peak of her power, restating her ability to take material and make it uniquely her own. This 1968 tour de force is one of the absolute pinnacles of the Queen's incredible artistic legacy.

2

At a 1968 concert in Chicago, Aretha Franklin was publicly and officially crowned the Queen of Soul in front of her fans by a DJ named Purvis Spann. This body of work shows why Aretha continues to reign supreme. The Queen takes on the Kings of Soul/Rhythm & Blues and pulls no punches as she covers Ray Charles's "Come Back Baby" and "Be as Good to Me as I Am to You," James Brown's "Money Won't Change You," and Curtis Mayfield's "People Get Ready". She's classical, bluesy, funky, and right-down soulful on every cut. The poet Nikki Giovanni once wrote--"Aretha can sing Money Won't Change You, but can James Brown sing Respect?" In other words, when the Queen covers a song, it becomes hers and one can easily forget about the original artist. For example, Carol King wrote and recorded "Natural Woman" but that song is and probably will always be associated with Aretha Franklin. Aretha wails and gets right-down funky on cuts like "Chain of Fools" and "Nikki Hokey." She's operatically soulful on "Ain't No Way"--which to this day no female artist, including Whitney Houston, has been able to successfully cover.

You have an absolutely classic and indispensable piece of American music history here. The one and only Aretha Franklin: "Lady Soul."

Download Link :

aretha_franklin_-_1968_-_lady_soul.rar

V.A. - Beginner's Guide to Africa

V.A. - Beginner's Guide to Africa

Disc One - African Legends

1. Utro Horas-Orchestra Baobab [Senegal]
2. Pindurai Mambo-Oliver Mutukudzi [Zimbabwe]
3. La Drogue-Ali Farke Toure [Mali]
4. Mulemba Xangola-Bonga [Angola]
5. Loodo-Baaba Maal [Senegal]
6. Vuka Vuka-Manhattan Brothers [South Africa]
7. Kar Kar Madison-Boubacar Traore [Mali]
8. Femmes Africaines-Sam Mangwana [Congo]
9. Halala-Ladysmith Black Mambazo [South Africa]
10. Mande Djeliou-Djelimady Tounkara [Mali]
11. Lolita-Kekele [Congo]

Disc Two - African Classics

1. Jelebi-Ismael Lo [Senegal]
2. Radio Africa-Bhundu Boys [Zimbabwe]
3. Mansa-Super Rail Band [Mali]
4. Mobembo-Wendo Kolosoy [Congo]
5. Deli-Ballake Sissoko [Mali]
6. Temedi-Africando (With Sekouba Bambino) [Guinea / Congo]
7. Banda Yango-Tshala Muana [Congo / Zaire]
8. Kassongo-Orchestra Super Mazembe [Kenya]
9. Samba-Quatre Etoiles [Congo / Zaire]
10. Doninke-Kandia Kouyate [Mali]
11. Madiguen-Thionne Seck [Senegal]

Disc Three - African Future

1. Ndiyahamba-Thandiswa Mazwai [South Africa]
2. Kilonese-JJC & 419 Squad [UK / Nigeria]
3. Ne La Thias-Cheikh Lo [Senegal]
4. Abay-Gigi [Ethiopia]
5. Palavra D'Honra-Mabulu [Mozambique]
6. Oya-Sally Nyolo [Cameroon]
7. Justice Day-Abantu, The Mighty Zulu Nation [South Africa]
8. M'Bifo-Rokia Traore [Mali]
9. Akata Meso-D'Gary [Madagascar]
10. Laban-Oumou Sangare [Mali]
11. Fanta-Taffetas [Guinea-Bissau]

Sunday, April 1, 2007

Rotary Connection - 1967 - Rotary Connection

One of the best Psychedelic Soul albums of all time, with an incredible baroque spacey soul sound that still feels very fresh today! The group's vocals are especially eerie and float around these wild arrangements by Charles Stepney, peppered with strings, soul, fuzzy guitars, and even slight bits of electronics. The album features their incredible cut "Memory Band" the one that begins with those cool sitar riffs.

Tracks
1. Amen
2. Rapid Transit
3. Turn Me On
4. Pink Noise
5. Lady Jane
6. Like A Rolling Stone
7. Soul Man
8. Sursum Mentes
9.Didn't Want To Have To Do It
10.Black Noise
11.Memory Band
12.Ruby Tuesday
13. Rotary Connection


The Reviews

1
Not your typical psychedelic pop record, this was the brainchild of Marshall Chess (son of Chess Records founder Leonard), who wanted to take the Beatles' innovations of classical instrumentation, phenomenal production values, and crazy experimentation to their extreme. He assembled a very talented team: arranger and composer Charles Stephney went on to tremendous success with Earth Wind & Fire; bandmember Sidney Barnes was soon to work with George Clinton; and backup singer Riperton would later make her name as a solo artist. The arrangements rely heavily on choral singing, plus organ and strings, and occasional sitar, theremin and tabla: no guitars to speak of. At its best the record integrates classical methods better than anything else going on at the time ("Amen"), and the production is ear-catching ("Soul Man"). At its worst, the group is just covering tunes by better bands, all using the same neoclassical schtick - like the Vanilla Fudge with chops. Unfortunately, the record's at its worst about four times as often as it's at its best: there are half a dozen painful endless covers like "Ruby Tuesday" and "Like A Rolling Stone." The disc loses further points for including brief snippets of each track at the end of the record (title track), and for an uncredited ripoff of the Beatles' "Hello Goodbye" fade ("Black Noise"). Definitely of interest to students of 60s psychedelia.

2
The most inexplicable aspect of Rotary Connection's debut is that its strange and experimental qualities are often referred to as charming but dated, while Love's Forever Changes (released the same year), a record that is just a shade less bizarre and no more psychedelic, is universally viewed as timeless. There's no mistaking that this is hardly a flawless record — this band, more an experiment than anything else, was only beginning to find its feet. For every cover that radically reshapes the original and either stuns ears or elicits screams of blasphemy ("Like a Rolling Stone"), there's one that falls completely flat in its blandness ("Soul Man"). And for every original that is rife with otherworldly melodies and luscious combinations of countless musical styles ("Memory Band"), there's something like the ghostly "what you've just heard" audio collage/megamix that closes out the album ("Rotary Connection"). The consensus seems to be that this is the only essential record this group released, and that they were such an oddball entity that this is all one can take of them. That's just plain silly, evident from any number of the sparkling moments found on the LPs that followed. Minnie Riperton had yet to take the spotlight she deserved in this group — so in a sense, this could be seen as the least-representative Rotary Connection record, as fascinating as it is.

Download Link :
Rotary_Connection__1967__-_Rotary_Connection.rar