Friday, 13 December 2019

Break Away Baby

For an artist who had a dozen or so 45s released, precious little is known about Obrey Wilson – which is a shame as he was a fine vocalist and strong songwriter who made some high quality country soul in the 60s and some scrumptious southern fried funk in the 70s.


Wilson seems to have started his career with Snuff Garrett at Liberty, and although his four sides for the company are more pop than soul, "Hey There Mountain" has some notoriety as being one of only a handful of sides that Phil Spector produced for Garrett. While "She's A Good Looker" has a Jackie Wilson feel to his high tenor vocal, the flip "I Know I'm Lying", is Obrey’s first overtly country styled track. The cuts from his first stay at Epic were produced by Jerry Kennedy or Billy Sherrill in Nashville, and they range in styles from pop/country to soul. The best is undoubtedly "She Used To Be Mine" which is really soulful thanks to Wilson’s obvious gospel vocal touches, including a well judged rap, and the tasteful piano. His sole Columbia outing was recorded in New York, with Charlie Calello providing the big big backdrop for his version of the uplifting "My Ancestors". The flip has had some Northern scene action. Obrey’s Philips 45 was again produced by Jerry Kennedy but neither side was among his best. But both sides of his Bell 45 were far better. It was another Nashville recording, but more like John Richbourg’s style of music from there than Billy Sherrill’s. "Soul Satisfaction #1" was a gently funky little opus, very nicely arranged, and "Break Away Baby" was far and away Wilson’s best effort to date. In a classic southern soul setting of guitar/organ underpinning a strong horn section, Obrey cut loose, his high tenor sounding just perfect, full of righteous fire and hoarse commitment. A great deep side for sure. He continued this gospel feeling with his next 45 "Sweet Revival", an easy paced tuneful hymn, with some really good guitar and conga playing over which Wilson again gets high with the spirit. This side reminds very much of the sort of sound that Buddy Killen surrounded the great Paul Kelly with on Warner Bros, also in Nashville. And that’s quite a compliment. Both tracks on his second Mercury single came from the pen of the wonderful Swamp Dogg and while "You Were Meant For Me" was good, his version of "Laid Back And Easy" was excellent. Always one of Swamp’s finer evocative numbers, I think Wilson’s rendition just about shades Freddie North’s for sheer soul thanks to his oh-so-flexible vocal. Thanks to its inclusion on the 'Lost Soul' series of LPs Obrey’s outstanding "Sho Nuff You Can" is probably his most accessible track. But this superb slice of country soul can’t really have enough plaudits aimed at it, so sweet is the melody, so subtle the playing (especially by the guy at the electric piano), so good are Bergen Whit’s horn charts and so emotional the vocal. Almost an advertisement for country soul. Wilson's final single (not included in collection) was for John E. Denny's Nashville operation and Mel Tillis' "Take Time" was another winner, just the right side of the country/soul divide with Wilson’s hoarse tone lovely to hear, and his 'delayed' sense of time is really on the button. His companion on the track Bernice Cook sings well too. ~ Sir Shambling

Break Away Baby bundles the complete Obrey Wilson recordings between 1961 and 1973. Tracks 5 and 16 are pretty terrible rips and upgrades would be quite welcomed. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to hwolf and Sir Shambling for the bulk of these tracks and bio. Enjoy.

Monday, 9 December 2019

GGG Presents Goodie Grab Bags Volume 39



The Royal Five - Discography 196?-71 [9sides]

01. The Royal Five - 196? - The Boston Boo-Ga-Loo (P & L 317)
02. The Royal Five - 196? - (Somewhere) Over The Rainbow (P & L 317)
03. The Royal Five - 196? - Nobody Else (P & L 1004)
04. The Royal Five - 196? - Don't Stop (P & L 1004)
05. The Royal Five - 196? - Say It To My Face (Tyler 200)
06. The Royal Five - 196? - Gonna Keep Lovin' You (Tyler 200)
07. The Royal Five - 19?? - Five Miles (Unissued)
08. The Royal Five - 1971 - Ain't No Big Thing (But It's Growing) (Arctic 160)
09. The Royal Five - 1971 - Peace Of Mind (It's Just A Matter Of Time) (Arctic 160)



Four Mints - Discography 1969-73 [17sides]

01. Four Mints - 1969 - You're My Desire (Holiday 175) (Capsoul CSLP 370)
02. Four Mints - 1969 - You'll Want To Come Back (Holiday 175) (Capsoul CSLP 370)
03. Four Mints - 1971 - Row My Boat (Capsoul 27) (Capsoul CSLP 370)
04. Four Mints - 1971 - They Were Wrong (Capsoul 23) (Capsoul CSLP 370)
05. Four Mints - 1973 - Can't Get Strung Out (Capsoul 26) (Capsoul CSLP 370)
06. Four Mints - 1973 - Why Did I Go (Capsoul 26) (Capsoul CSLP 370)
07. Four Mints - 1973 - Do You Really Love Me (Capsoul 27) (Capsoul CSLP 370)
08. Four Mints - 1973 - Keep On Loving You (Capsoul 27) (Capsoul CSLP 370)
09. Four Mints - 1973 - Too Far Gone (Capsoul CSLP 370)
10. Four Mints - 1973 - In A Rut (Capsoul CSLP 370)
11. Four Mints - 197? - Hysteria (Unissued)
12. Four Mints - 197? - Crystal Rivers (Unissued)
13. Four Mints - 197? - No Longer (Unissued)
14. Four Mints - 197? - Endlessly (Unissued)
15. Four Mints - 1973 - Too Far Gone [rehearsal] (Unissued)
16. Four Mints - 1973 - In A Rut [rehearsal] (Unissued)
17. Four Mints - 1973 - In A Rut [inst] (Unissued)


The Demands - Discography 1973 [6sides]

01. The Demands - 1973 - Say It Again (Clem 7101)
02. The Demands - 1973 - Let Me Be Myself (Clem 7101)
03. The Demands - 1973 - Checkin Time (Unissued)
04. The Demands - 1973 - Demands Instrumental (Unissued)
05. The Demands - 1973 - Say It Again [alt] (Unissued)
06. The Demands - 1973 - Let Me Be Myself [alt] (Unissued)


GGB39

Friday, 6 December 2019

What It Is

Let's funk it up this Friday with a rather unique outfit that has finally got a taste of the accolades that they earned nearly 50 years ago. Though they released a wealth of material under the name Ebony Rhythm Funk Campaign, as The Ebony Rhythm Band they only released one 45, “Soul Heart Transplant” on Lamp Records. As ERB. they recorded an album's worth of unissued material and served as the backing band for several of the artist's on the Lamp label between 1969 and 1971. As ERFC, they released two LPs and a 45 between 1973 and 1976.


With their early origins at Lamp Records in Indianapolis as the Ebony Rhythm Band, this group of storied musicians has been at the forefront of Rhythm n Blues music since 1969. With an incredible sound that seems to take the heavy bottom of New Orleans Funk and merge it with the trippier elements of Detroit psychedelic soul for a really great tripped-out groove -- using lots of guitar and organ over heavy rhythms, in a style that's a bit like the Meters at times -- but a lot freer flowing. When Lamp Records folded in 1971 ERB travelled to California. The Ebony Rhythm Band found themselves living on popcorn and hope, with a healthy dose of hustle thrown in for survival. In those days, Rufus used to live just behind the house that ERB lived in. More than once, Ebony, who used to practice in the kitchen of that house, were visited by L.A.’s finest and told to “turn down the music” when it was Rufus on the other side of the fence who was causing the commotion. Passing acquaintances included The Commodores and Earth, Wind & Fire who were also doing the “starving in LA” scene at the same time ERB was wood shedding in the kitchen. When Matt Watson ran into Phillip Upchurch at an impromptu LA party, the chance meeting between old Indianapolis school mates led to a meeting with Wayne Henderson of Jazz Crusaders fame. Henderson heard ERB and decided to produce the group's first album. Under the new name, Ebony Rhythm Funk Campaign, “Reach For It” was released in 1973 with Henderson playing trombone in the ERFC horn section. The LA scene found ERFC warming-up for Curtis Mayfield, New Birth, The Grass Roots, Doby Gray, The Whispers, The Commodores and Three Dog Night. After many months of survival in the streets of L.A., the group headed for home. In 1973, ERFC made their way back to Indianapolis. The next few years were very busy ones, doing concerts with the likes of Al Green, Donny Hathaway, Jackie Wilson, The Stylistics, Patty Labelle, The Ohio Players, The Guess Who, The Mystics, and Sha Na Na. These events which surrounded the release of Reach For It might be considered the “first era” of ERFC. The “second era” of ERFC began with the recording and release of “How’s Your Wife (And My Child)” with the B side “Oh Baby” in 1975. How’s Your Wife made it to #69 on the Billboard Hot Soul 100. Oh Baby pulled air play on the east coast but never made the charts. In this era ERFC played concerts with Earth Wind & Fire, The Chi-Lites, B.B. King, The Spinners and club dates with Donny Hathaway and Bobby Blue Bland. But lack of promotion from the Innovation II label left the band in disarray and saw the original keyboardist, drummer and guitar player all leave the band. The “third era” of ERFC was in 1975 through 1978. This era featured new personnel and a new album “Watchin' You, Watchin' Me” on the ChiSound label. The album was a technical triumph but once again suffered from lack of effective promotion from ChiSound. The last years of the 70’s saw ERFC in decline, playing their last gig in 1980 with almost completely new players. ~ In Dangerous Rhythm

What It Is collects the complete recordings of both Ebony Rhythm incarnations and includes 10 unissued cuts as Ebony Rhythm Band made available by re-issue label, Now-Again Records, in more recent years. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 2 December 2019

GGG Presents Deep Dish Delicacies Vol. 28



01. Clay Hammond - 1968 - I'll Make It Up To You (Kent 503)
02. J.B. Troy - 1966 - Every Man Needs A Woman (Musicor 1188)
03. Roscoe Robinson - 196? - Leave You In The Arms Of Another Man (Seventy-Seven SP 2152)
04. Paul Kelly - 1967 - Cryin' For My Baby (Philips 40457)
05. Susie Rainey - 1969 - You Hurt So Good (Peachtree 106)
06. The Zircons - 1969 - You Ain't Coming Back (Capitol 2667)
07. Winfield Parker - 1968 - A Fallen Star (Ru-Jac 0024)
08. Major Burkes - 19?? - Who Was The Fool (Gulf 0005)
09. Jay Robinson & The Dynamics - 1967 - I Can't Live Without You (Mala 551)
10. Bobby Patterson - 1966 - If I Didn't Have You (Jetstar 107)
11. Barbara & The Browns - 196? - It Hurts Me So Much (Cadet Unissued)
12. George Jackson - 196? - Search Your Heart (Fame Unissued)
13. James Carr - 196? - Please Your Woman (Goldwax Unissued)
14. The Del-Vons - 1966 - All I Did Was Cry (Wells 1001)
15. Gene Middleton - 1965 - A Man Will Do Anything (Soul Town 01)
16. Eddie Wood - 1965 - One (Perico ABK 1258)
17. Lee Jackson - 1965 - Ad For Love (Atlantic 45-2284)
18. Banny Price - 1964 - There Goes The Girl (Jewel 733)
19. Thelma Jones - 1967 - I Won't Give Up On My Man (Barry 1018)
20. William Bell - 1967 - You Don't Miss Your Water (Stax S-719)
21. Oliver Joy - 1967 - Come Get This Love (Big Deal 133)
22. Emanuel Lasky - 1968 - More Love (Where That Came From) (Westbound 143)
23. Israel Tolbert - 1969 - Darling, I Love You (Warren 105) (Stax - Warren STS-2038)
24. Don Bryant - 1969 - For Your Precious Love (Hi SHL 32054)
25. Percy Sledge - 1969 - Faithful And True (Atlantic 2679)


DDD28

Friday, 29 November 2019

You Got To Live For Yourself, I Won't Cry

Wrapping up Bo-vember with a little double-decker!!

Who's Who? - Part 3

Roughly a year ago I ran a little special feature called "Who's Who?", exploring some artists who share names and thus often cause confusion among collectors. Well friends, here we go again, this time with Bobby Moore's. And though a few of you UK soulies might be thinking about a little West Ham footie ball, I'm referring to the other ones. Singer Bobby Moore of New Jersey, who lead 'The Four Most' ... and saxophonist Bobby Moore of Alabama, who lead 'The Rhythm Aces'.


Part 3: A
The Four Most got their start in Newark's Third Ward around 1958. A group of guys would converge on the corners around Spruce Street and warble the hits of the day. The members, all in their early 20s, coalesced to: Bobby Moore (lead), Ronald Mikes (tenor), Charlie Chambers (baritone), and Bobby Frazier (bass). Their inspiration was Little Anthony and the Imperials, leading to their own version of "Tears On My Pillow." As well as on street corners, they practiced at the Morton Street School every night. With all the sounds echoing down the corridors, it's no wonder that they were heard by one of the teachers there: Frank Fenner. He liked what he heard and offered to manage them. The Four Most didn't follow the regular appearance path too closely. They sang at schools, which was normal. However, there were no club appearances, but, for whatever reason, they sang at reformatories. Their only big show was at the Paterson Armory, where they shared the stage with Chuck Berry. More important, they came in first on one of the Apollo Amateur shows. Finally, in the summer of 1960, Fenner got them a recording session with Johnny Dee and Joe Flis's Milo Records, operating out of a storefront in Harrison, New Jersey. One of the songs they recorded was "I Love You," a tune written by Bobby Moore. The flip was the old standard, "The Breeze And I." The record was released around September 1960, but, according to Bobby, "it didn't get played much." He attributes this to the payola scandal that was unfolding at the time. Let's face it, when a DJ receives a record from a tiny independent label, there had better be some money along with it, or it gets totally ignored. By the time the record was reviewed (October 24, 1960) the group had ceased to exist. However, all was not lost for Bobby Moore. When the Four Most had appeared at the Apollo, another act on the bill was the Fiestas, who had recently decided to add a fifth voice. Bobby was working at Fedders (the air conditioner manufacturer) at the time and the other Fiestas (Tommy Bullock, tenor; Sam Ingalls, baritone; Eddie Morris, second tenor; and Preston Lane, bass) just marched in and told him they wanted him for the group. He started off by giving them a song he'd written, "You Could Be My Girl Friend." They rushed into the studio to record it (along with "So Nice"). Bobby Sang lead on both sides. After that, the Fiestas broke up for a while. Then, in the early spring of 1961, Preston Lane and Bobby Moore got together with tenor Jimmy Jones and baritone Wesley Lee to record two songs for the Strand label (distributed by Decca) as the Fiestas: "Come On Everybody" and "Julie." Once again, Bobby sang lead on both tunes (he had also written them). However, by the time the record was finally released (in June 1961), the group had broken up. Jimmy Jones then joined Tommy Bullock, and Eddie Morris, who, along with Tommy's brother, George, and Randall "Randy" Stewart, became the "official" Fiestas on Old Town. Their first release, also in June, was "Mr. Dillon, Mr. Dillon"/"Look At That Girl." In late 1961, Bobby decided to go out on his own, releasing a record on the Seg-Way label: "Pinky"/"Walk With My Love." "Pinky" was used as an advertisement for the Thom McAn shoes of the same name, until they got a better idea and hired Chubby Checker to promote their "Twister" line. 1962 saw Bobby, as "Little Bobby Moore" on King. "The Ginger Snap," backed with "The Clown" were released in June of that year. Then, in 1963, Eddie Gries started Relic Records as a vehicle for reissuing songs for the newly-emerging collectors market. Interestingly, the first Relic release was "I Love You"/"The Breeze And I" (Relic 501), by The Four Most. In 1964, Bobby got together with bass Bobby Frazier, his old pal from the Four Most, to put together a new group called the Fourmost (spelled as a single word this time). The others were tenor Lloyd Williams, and his brother, Sammy Williams, a baritone. Somehow they met up with Jerry Cohen, a part owner of Fantasy Records. "Dance Of The Land"/"You Got To Live For Yourself" appeared on Fantasy in 1964. The next year saw "It Was A Lie"/"Girl, You Do Something To Me" on Cohen's D.W. label (with the group's name misspelled as the "Fourmosts"). These tunes were picked up by Leiber & Stoller's Red Bird label for a 1966 reissue. Also in 1966, Bobby had some more solo releases. However, now there was another Bobby Moore (from Montgomery, Alabama) recording with the Rhythm Aces on Checker. Therefore, when he released "I Was Born A Loser"/"My Luck Is About To Change" on Juggy Murray's Sue label, he'd been renamed "Bobby Lee." A second Sue release from that year was "I Missed It By That Much"/"I'm Not Afraid." There was one other Bobby Lee record from 1966: "Cut You Loose" (another of Bobby's compositions), backed with "I'm Just A Man," on the Port label. As well as recording some solos, Bobby was the vocalist with Duke Anderson's band for most of the 60s and early 70s. In the 90s, he sang with a band called Damn Near Home. And then, in 1996, Bobby reunited with Tommy Bullock in the Fiestas. The others were Kenny Harper (second tenor) and Wendell Scott (baritone). When Tommy died, around 2002, they kept the group together by bringing in tenor Wayne Parham. Since all four of the original members (Tommy Bullock, Preston Lane, Sam Ingalls, and Eddie Morris) are deceased, Bobby carried on the name until his death on April 8, 2013. ~ Marv Goldberg

You Got To Live For Yourself collects the complete Bobby Moore aka Bobby Lee recordings (less one side) between 1960 and 1967. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing:
Bobby Moore - 1961 - Walk With My Love (Seg-Way 1005)


Part 3: B
Best remembered for their 1966 R&B smash "Searching For My Love," Bobby Moore & The Rhythm Aces were the first act on Chicago-based Chess Records to record at Muscle Shoals, Alabama's legendary Fame Studios. New Orleans-born tenor saxophonist Moore assembled the first Rhythm Aces line-up in 1952 while stationed in Fort Benning, GA. The group played military dances and nightclubs throughout the south for several years before dissolving. Upon settling in Montgomery, Alabama in 1961, Moore recruited a new roster including his brother Larry Moore on alto sax, vocalist/guitarist Chico Jenkins, guitarist Marion Sledge, bassist Joe Frank, keyboardist Clifford Laws, and drummer John Baldwin, Jr. A longtime mainstay of the Montgomery club circuit, The Rhythm Aces backed visiting singers including Sam Cooke and Ray Charles before signing to Chess' Checker subsidiary in early 1966. Their smoldering debut "Searching For My Love," featuring Jenkins on lead vocal duties, sold over a million copies and cracked the Billboard pop Top 40, inspiring Chess to book its other artists studio time at Fame, most notably Etta James. The Rhythm Aces' soundalike follow-up "Try My Love Again" inched into the Hot 100, and in 1967 their third Checker release "Chained To Your Heart" cracked the R&B countdown, but the group never repeated the success of "Searching For My Love," and after a three-year recording hiatus, Checker issued "Your Love And My Love Together" before terminating Moore's contract. He nevertheless remained a Montgomery fixture for decades to follow, releasing a pair of singles and an LP in the mid 70s and leading a revolving Rhythm Aces lineup that later included son Bobby Moore, Jr. who took control of the group following his father's death from kidney failure on February 1, 2006. ~ Jason Ankeny [allmusic]

I Won't Cry collects the near complete works (less one unissued side) between 1966 and 1976. Both LPs, all the non-album single sides and a small handful of unissued cuts. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing:
Bobby Moore & The Rhythm Aces - 196? - Mother Dear (P-Vine Special PLP-6056)


Monday, 25 November 2019

GGG Presents Goodie Grab Bags Volume 38



George Wallace Jackson - Discography 1957-68 [12sides]

01. The Plants - 1957 - Dear I Swear (J & S 1602)
02. The Plants - 1957 - It's You (J & S 1602)
03. The Plants - 1958 - From Me (J & S 1617)
04. The Plants - 1958 - My Girl (J & S 1618)
05. George Jackson w. The Unisons - 1962 - Watching The Rainbow (Lescay 3006)
06. George Jackson w. The Unisons - 1962 - Miss Frankenstein (Lescay 3006)
07. George Jackson - 1966 - When I Stop Lovin You (Double R 248) (Cameo 460)
08. George Jackson - 1966 - That Lonely Night (Double R 248) (Cameo 460)
09. George Jackson - 1967 - Tossin And Turnin (Mercury 72736)
10. George Jackson - 1967 - Kiss Me (Mercury 72736)
11. George Jackson - 1968 - I Don't Have The Time To Love (Mercury 72782)
12. George Jackson - 1968 - Don't Use Me (Mercury 72782)


Clarence Murray - Discography 1968-73 [11of12sides]

01. Clarence Murray - 1968 - Baby You Got It (SSS Int. 730)
02. Clarence Murray - 1968 - One More Chance (SSS Int. 730)
03. Mickey & Clarence Murray - 1968 - How Do You Think I Can Live With ... (SSS Int. 743)
04. Mickey & Clarence Murray - 1968 - The Pig And The Pussycat (SSS Int. 743)
05. Clarence Murray - 1968 - Don't Talk Like That (SSS Int. 756)
06. Clarence Murray - 1968 - Poor Boy (SSS Int. 756)
07. Clarence Murray - 1969 - Let's Get On With It (SSS Int. 778)
08. Clarence Murray - 1969 - Dancing To The Beat (SSS Int. 778)
09. Clarence Murray - 1971 - Please Accept My Love (Federal 12562)
10. Clarence Murray - 1971 - The Book Of Love (Federal 12562)
11. Clarence Murrey - 1973 - Me & Jesus (Boblo 311) **missing**
12. Clarence Murrey - 1973 - Hunk Of Funk (Boblo 311)


Ben Monroe - Discography 1966-76 [6sides]

01. The Del-Vons - 1966 - All I Did Was Cry (Wells 1001)
02. The Del-Vons - 1966 - Gone Forever (Wells 1001)
03. Ben Monroe - 1971 - A Moment Of Weakness (Dakar 4502)
04. Ben Monroe - 1971 - Since You Came Into My Life (Dakar 4502)
05. Ben Monroe - 1976 - Broken Home (Dakar 4557)
06. Ben Monroe - 1976 - This Melody Is For My Baby (Dakar 4557)


GGB38

Friday, 22 November 2019

Standing On The Corner

Back on the Bo-vember track this weekend with one of, if not, the most wonderful soul singers I've yet to come across. Bobby Harris was a far cry from the best in terms of the charts, professional recognition, or even raw talent but that never dissuaded him from doling out some of the greatest deep soul gems under the sun. If you're still in the dark, prepare to be illuminated.


Arguably the greatest secular exponent of Sam Cooke’s wonderful vocal legacy, Bobby Harris never had that pure tone that Cooke was blessed with, but he did impart his singing with an aching quality which, combined with the roughness of his timbre, tugs at the heartstrings like no other I know. New York based Harris was a vocal maestro on the ballads. He started out singing duets with his brother Jim, and while some of these early R & B efforts are first class, they never really allow Bobby’s talents full rein. The music is transitional – it both looks back to the 50s combos like Don & Dewey and anticipates the great soul duos like Sam & Dave. Uptempo R & B numbers such as "Baby I’m Coming Home To You" and "Crying Won’t Help You Now" are good, and "I’ll Be Standing By" with it’s "Spanish Harlem" feel rocks along nicely. But as is so often the case it's the doo-wop tinged ballads, particularly the superb "Here Is My Heart" and "Please Don’t Hurt Me" that are the real killers – highly recommended. Bobby had the better set of lungs and went on to a solo career in the 60s cutting some amazing deep soul, helped by the genius of writer/arranger/producer Bert Berns. Harris’ tribute to Sam Cooke, his mentor, on Atlantic "We Can't Believe You're Gone" is, given the subject matter, almost unbearably poignant. I like his beat ballad duet with Pat Lundy "I Realy Love You" very much, especially the rather endearing way Pat refers to him as “Billy” throughout! But deep fans may well prefer his two magnificent Turntable singles "That’s When I’ll Stop Loving You" and "Lonely Intruder". These are unmissable examples of Bobby’s phrasing and approach. And this impeccable run continued with his two Shout 45s. "Baby, Come Back To Me" is a wonderful ballad but "Mr. Success" just may be his best ever release. All these cuts feature some of the Big Apple’s finest musicians, including Pretty Purdie and Eric Gale who provides some lovely and carefully judged fills and runs. In 1970 Harris guested on the brilliant Fabulous Fiestas RCA 45 and made a small comeback in the 90s with a set on Roy C’s 3 Gems label, and two Japanese compilations – this was sanctified music consisting mostly of synth–led covers of Sam Cooke’s best gospel numbers. And perhaps that’s the most telling remark I can make about Bobby Harris. That he was the singer I turned to when I most needed solace and comfort. Not the greatest soul singer of them all – but the most satisfying emotionally. ~ Sir Shambling

Standing On The Corner isn't just the complete Bobby Harris collection, it's the complete Harrison Brothers recordings. All of their delightful duets and the solo endeavors (pre and post dating their pairing), including a few 45s cut under pseudonyms and Bobby's 45s with Pat Lundy and The Fabulous Fiestas. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to hwolf for the bulk of these files and the mighty Sir Shambling for the input!

Monday, 18 November 2019

GGG Presents O-O-O-O-Oh Yeah!!! Vol. 19

Well, I certainly didn't expect an overwhelming response of gratitude for my Pete Rock pit-stop but a little surprised by the handful of hateful (unpublished) comments i received about it. I'm surprised that these blow-hards think that they'll still get their dribble published here, that is. Your griping, sniping, keyboard warrior typing does not phase me or dissuade me in the slightest from doing what I want with this site and it never will. Guess we can add dim-witted to your lack luster list of attributes. You few should really focus that energy on getting the help you require, you have mental problems. I know this even if you don't. This is first-year Psych 101 shit. People who are happy (or let say comfortable) with themselves do not declare what others should or should not do, like, love, listen to, eat, read, watch, work at, fight for, live for etc, etc. Simple as that! I'm not writing this for the sake of retaliation, but rather compassion. I know you don't really hate me (or hip hop), you hate yourself. You're broken, it happens to plenty of people. Don't be ashamed of it, do something about it!!! There are resources available to you ... but enough about all that!


01. Jim Coleman - 1967 - Cloudy Days (Revue R-11002a)
02. Jim Coleman - 1967 - Don't Seem Like You Love Me (Revue R-11002b)
03. Sonny Fisher - 1967 - I'm Going Away (Peacock 1947a)
04. Sonny Fisher - 1967 - Hurting (Peacock 1947b)
05. Lenny Jennings - 1966 - Easy Baby (Roulette 4704a)
06. Lenny Jennings - 1966 - The Last Laugh (Roulette 4704b)
07. Carl Burnett & The Hustlers - 1965 - Jerk Baby Jerk (Carmax 102a)
08. Carl Burnett & The Hustlers - 1965 - Sweet Memories (Carmax 102b)
09. Doris & Kelley - 1963 - Groove Me With Your Lovin (Brunswick 55327a)
10. Doris & Kelley - 1963 - You Don't Have To Worry (Brunswick 55327b)
11. The Bob-Wheels - 1963 - Love Me (Tarx 1008a)
12. The Bob-Wheels - 1963 - She's Gone (Tarx 1008b)
13. Little Floyd - 1962 - Here Am I (Arlen 716a)
14. Little Floyd - 1962 - My Baby Loves Me (Arlen 716b)
15. The Carthays - 1961 - Betty Jo (Tag 446a)
16. The Carthays - 1961 - So Bad (Tag 446b)
17. Gloria Gunter & Group - 1959 - Your Love Reminds Me (Arch 1610a)
18. Gloria Gunter & Group - 1959 - Move On Out (Arch 1610b)
19. The Tibbs Brothers - 195? - I'm Going Crazy (Atco 674a)
20. The Tibbs Brothers - 195? - Miss Rip Van Winkle (Atco 674b)
21. Shell Bros. - 1959 - Shoma Dom Dom (End 1050a)
22. Shell Bros. - 1959 - Whispering Winds (End 1050b)
23. Helen Bryant - 1960 - I've Learned My Lesson (Fury 1042a)
24. Helen Bryant - 1960 - That's A Promise (Fury 1042b)
25. Eddie Allen [aka Ricky Allen] - 1963 - All About My Baby (Age 29119a)
26. Eddie Allen [aka Ricky Allen] - 1963 - Nothing At All (Age 29119b)


OY!19

Friday, 15 November 2019

For The People

So let's put Bo-vember on the back burner and flip da script as the old hip-hop heads say. This one's for you (if you're lurking). Now, I'm by no means neither big on, nor all that well versed on the past 25 years of Hip Hop, however I liked a small handful of groups back in the day. One above all others was the duo ... Pete Rock & CL Smooth. Their career together pretty much dried up in the mid 90s after two EPs, two LPs and a handful of soundtrack appearances. Pete Rock however, went on to become one of the most highly revered and sought after producers on the planet. His bass laden beats are centered around horny hooks and a myriad of other soul and jazz samples from deep in his crates. Earning him the moniker, Soul Brother #1


Peter O. Phillips was born in The Bronx, New York, the fourth of five children born to Jamaican immigrant parents. His family moved to Mount Vernon, New York when he was seven years old. During high school, he met his future recording partner CL Smooth. According to Rock, his father was also a part-time DJ who had an impressive record collection. Rock would often accompany his father to a cricket club called Wembley in The Bronx and watch as he spun records for the guests. His first job was as a paperboy, in his neighborhood. He rose to prominence in the early 90s as one half of the critically acclaimed group Pete Rock & CL Smooth and was also famed for his remix work. Their signature hit was "They Reminisce Over You (T.R.O.Y.)", a requiem for fallen friends—namely Troy "Trouble T-Roy" Dixon, a member of Heavy D & The Boyz, who died in 1990. They were first signed to Elektra Records, managed, and Executive Produced by Eddie F of Heavy D & The Boyz and Untouchables Entertainment who also then managed Pete Rock as a producer. Pete Rock was one of the original three "Untouchables" producers along with Eddie F himself and Nevelle Hodge. Through the years, Rock has helped to jump-start the careers of several artists. His first project outside of Pete Rock & CL Smooth was the hardcore duo YG'z, who released an EP called Street Nigga in 1993, with four out of the six tracks produced by Rock; however, they were quickly dropped from their deal with Reprise Records. In 1994 PR & CL followed up their acclaimed debut LP with 'The Main Ingredient', and they appeared as frequent guest artists collaborating on remixes, soundtracks, and other works. Public Enemy, EPMD, Heavy D and Johnny Gill were among the artists they collaborated with, and they can also claim credit for producing (and performing on) Run–D.M.C.'s 1993 comeback single 'Down With The King'. Sadly the duo split in 1995. Since their split, Pete Rock's relationship with CL Smooth has been highly unpredictable. Although the pair briefly united for the reflective "Da Two" from Rock's Soul Survivor album in 1998, they avoided entertaining requests for a reunion album until 2001, when they once again teamed up for "Back on Da Block" from Rock's PeteStrumentals. In their interviews during this period, it appeared as though a new album was underway. The pair went on a short international tour culminating in their well-received show at London's Jazz Cafe; however, soon after this they declined to comment any further on the new album, which never materialized (although Smooth did make three separate appearances on Soul Survivor II). Eventually, Smooth would confirm rumors of a rift in an interview with AllHipHop.com, in which he appeared angry and frustrated with his former partner, saying "I didn’t ask him to be a superhero" and "I’m not the problem." In an interview taken in December 2006, Rock ruled out any further collaborations with Smooth but stated that he holds no grudges against his former partner. CL Smooth went on to release two solo albums - American Me in 2006 and The Outsider in 2007. Pete Rock would produce tracks for numerous artists, including CL Smooth's It's a Love Thing and Love Is A Battlefield from each of his solo albums. Pete Rock had confirmed that among his promised new slew of releases in 2011, that one of the albums would be the third album between himself and CL Smooth, that as of 2012, was still in the works. As of 2018, it has been stated that there won't be any third album by the group, due to tensions between Rock and Smooth.

"Another Pete Rock Remix" is Pete Rock's trademark catchphrase, heard on countless singles that he has remixed. In addition to hip-hop artists he has done remix work for artists from other genres such as his 1995 remix of "Before You Walk Out Of My Life" for R&B singer Monica. In 1992 he collaborated with Mary J. Blige on the What's the 411? single "Reminisce," which utilized the same sample from his own single "They Reminisce Over You (T.R.O.Y.)". Rock claims to have done several high-profile remixes that remain unreleased, including one of Madonna's "Secret." He also claims to have produced the original beat for The Notorious B.I.G.'s "Juicy" and that it was recreated by P. Diddy and Poke (of Tone & Poke fame), without consent. However, he was invited to produce the remix, which utilizes the same sample as the original—Mtume's "Juicy Fruit." Although he received no official producer credit, he made the original demo beat for A Tribe Called Quest's "Jazz (We've Got)," which was then recreated by Q-Tip on the album The Low End Theory. He remixed Public Enemy's "Shut 'em Down" and "Nighttrain" in the same day, starting at 12pm and finishing at 12am. Up until 2003, he created all of his productions on the E-mu SP-1200, thereafter using the AKAI MPC2000XL. He also has a collection of about 90,000 records and looks for records at least once a week. Pete Rock builds his beats from samples, the majority of which are taken from obscure R&B, funk, and jazz records. Early on in his career he would also sample drum breaks such as Black Heat's "Zimba Ku" for Heavy D & The Boyz's "Letter To The Future". Pete Rock heavily used the E-mu SP-1200 as well as the AKAI [S950]—later moving onto using the MPC—for his productions. Pete Rock tends to use the samples as palettes for his beats, chopping (cutting the sample into smaller parts), filtering (altering the frequencies of the sample), and layering several samples, often within the same song. While this technique was applied long before Rock (on De La Soul's Three Feet High And Rising or the work of The Bomb Squad for example), Rock's work is distinctive for the way in which he uses samples to achieve a hazy, droning effect. He is also noted for his resonant basslines, horn samples, and gritty sounding drums. His beats often sound as though they were being played from an old vinyl record; he samples many of his sounds straight off these records. He frequently recorded at Greene St. Recording in Manhattan, having liked the equalizer that was used there, which gave many of his productions a wah-wah effect. Another trait of his, more so in the earlier part of his career, is the way he uses horn samples to supplement his grooves. On "They Reminisce Over You (T.R.O.Y.)", Rock uses a horn sample from Tom Scott's "Today"; he has also used horns on "Straighten It Out", Public Enemy's "Shut 'Em Down", Rah Digga's "What They Call Me", and A.D.O.R.'s "Let It All Hang Out". Along with Gang Starr, The Roots and A Tribe Called Quest, Pete Rock played a large role in the fusing of jazz and funk music into hip hop. The aforementioned "Reminisce..." withstanding, Rock used many jazz samples on his album Mecca & The Soul Brother, such as Cannonball Adderley's "Country Preacher", for the song "Return Of The Mecca", or "Capricorn" for the song "In The House" from The Main Ingredient. Pete Rock's heavy use of intro and outro beats has also been widely influential. To introduce feature songs, he often plays a short instrumental excerpt, completely different from the rest of the song. Aside from their role as transitions, these are widely regarded as a way of displaying his large collection and as a challenge to other hip-hop producers to identify the records that the breaks come from. Mecca & The Soul Brother and The Main Ingredient use intro/outro beats on nearly every track to great effect, and the tradition continues to the present on Rock's recent releases. Pete Rock has had a considerable impact on a number of record producers who have emerged in the hip hop scene since the late 90s. Critics have favorably compared Detroit producer J Dilla and North Carolina's 9th Wonder to Rock; both of them worked with Rock during their recording careers. Several of the comparisons stem from the fact that these producers have created the bulk of their productions out of samples, as well as the warm, mellow, and exuberant undertones apparent in their work. Pete Rock himself has added validation to the comparisons with J Dilla by stating "he's the only producer in this game that was just as serious [as me]."

For The People serves more as a sneak peak into Pete Rock's world, rather than a complete package. It's a 100+ instrumental cuts from his work as a soloist, with CL and a tonne of other artists over the past 30 years. Also included is Straighten It Out, the complete Pete Rock & CL Smooth discography. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

PS: purists worry not, we'll be back to the usual Monday!

Monday, 11 November 2019

GGG Presents Goodie Grab Bags Volume 37



Timmy Shaw - Discography 1960-68 [17of18sides]

01. Timmy Shaw - 1960 - Tastes Of The Blues (Audrey 3740)
02. Timmy Shaw - 1960 - Hey Baby (Audrey 3740)
03. Timmy Shaw - 1961 - Throw It Out Of Your Mind (Reel 102) (Jamie 1204)
04. Timmy Shaw - 1961 - A Letter From My Baby (Reel 102) (Jamie 1204)
05. Timmy Shaw - 1962 - This I Know (Jamie 1215)
06. Timmy Shaw - 1962 - Mine All Mine (Jamie 1215)
07. Johnnie Mae Matthews w. Timmy Shaw - 1962 - I Don't Want Your Loving [Part 1] (Reel 120)
08. Johnnie Mae Matthews w. Timmy Shaw - 1962 - I Don't Want Your Loving [Part 2] (Reel 120)
09. Timmy Shaw - 1962 - Thunder In My Heart (Bon 003)
10. Timmy Shaw - 1962 - No More (Bon 003)
11. Timmy Shaw - 1963 - Gonna Send You Back To Georgia (Audrey 010) (Wand 146)
12. Timmy Shaw - 1963 - I'm A Lonely Guy (Audrey 010) (Wand 146)
13. Timmy Shaw - 1964 - If I Catch You (Wand 151)
14. Timmy Shaw - 1964 - There Goes My Baby (Wand 151)
15. Timmy Shaw & Chuck Holiday - 1968 - You Better Get Yourself Together (Big Hit TZ 106)
16. Timmy Shaw & Chuck Holiday - 1968 - I'm Such A Lonely Guy (Big Hit TZ 106)
17. Timmy Shaw - 1968 - Get To Stepping (Premium Stuff 08)
18. Timmy Shaw & Little Melvin - 1968 - Can't We Make This Love Last (Premium Stuff 08)


Howard Peters - Discography 1967-68 [4sides]

01. Howard Peters - 1967 - Tighten Up The Slack (Coral 62533)
02. Howard Peters - 1967 - Tell Me It's Alright (Coral 62533)
03. Howard Peters - 1968 - Soulville (Coral 62546)
04. Howard Peters - 1968 - The Thrill Will Still Be New (Coral 62546)


George Johnson - Discography 196? [4sides] 

01. George Johnson & The Mondells - 196? - That's The Kind Of Man I Am (C.R.S. 000001)
02. George Johnson & The Mondells - 196? - Just Because You're You (C.R.S. 000001)
03. George E. Johnson - 196? - The Penn Walk (C.R.S. 000004)
04. George E. Johnson - 196? - Wake Me Up (C.R.S. 000004)


David Robinson - Discography 19?? [4sides]

01. David Robinson - 19?? - I Care For You (Orbitone 1001)
02. David Robinson - 19?? - I Like It Like It Is (Orbitone 1001)
03. David Robinson - 19?? - I'm A Carpenter Part 1 (Orbitone 1055)
04. David Robinson - 19?? - I'm A Carpenter Part 2 (Orbitone 1055)


GGB37