Saturday, 29 September 2018

What Can I Do Now

Though largely overlooked by audiences at the time, Jimmy Lewis was quite well regarded by his esteemed peers and those whom he formulated working relationships with. A vastly talented singer, songwriter, arranger and producer. He was a member of the Drifters, worked as a songwriter and producer with Ray Charles and wrote songs for Z. Z. Hill, among many others.

Born James Eddie Lewis in Itta Bena, Mississippi, he moved to Los Angeles, California by the late 50s. He worked with songwriter Cliff Chambers and arranger James Carmichael (later the producer with The Commodores and Lionel Richie), and released a string of singles on the Cyclone and Four-J labels, including 'Wait Until Spring' and 'What Can I Do Now' but with limited commercial success. In 1963 he joined the Drifters, replacing Bobby Hendricks as lead singer, and remained with the group for two years. Resuming his solo career, Lewis then released singles on the Minit label, including 'The Girls From Texas' / 'Let Me Know', produced by Jimmy Holiday, which later became popular on the British Northern soul scene. In 1968 some of his songs were heard by Ray Charles, who was impressed and started a long period of collaboration with Lewis. Their duet, 'If It Wasn't For Bad Luck' reached #21 on the Billboard R&B chart and #77 on the Hot 100 in 1969, and Lewis wrote and arranged every track on Charles’ album Doing His Thing, which was nominated for a Grammy Award. Lewis also wrote Charles' 1970 hit 'If You Were Mine' and recorded several singles under his own name on Charles' Tangerine record label, including 'I’ll Be Here' and 'We Can Make It'. Though critically acclaimed, his solo records continued to fail to reach the national charts. Nevertheless, he continued as a successful songwriter and producer for other musicians, including Arthur Adams (It's Private Tonight, 1973), and John Edwards, whose version of Lewis' song 'Careful Man' reached #8 on the R&B chart in 1974. In 1974, Lewis moved to the Hotlanta label, and released the album Totally Involved, described by critic Richie Unterberger as "respectable Southern-styled soul", on which he wrote and produced all the tracks. The album included the track 'Help Me Understand You' which reached number 95 on the R&B chart in 1975, his only solo chart hit. As a writer, he had further success in 1977, when Z. Z. Hill's 'Love Is So Good When You're Stealing It' reached the R&B chart. Lewis continued to write for Hill after the latter's move to Malaco Records. Lewis continued to work as a writer, producer, and occasional recording artist, through the 80s and 90s, writing and producing on two of Ray Charles' albums, Would You Believe (1990) and Strong Love Affair (1996). He also set up his own label, Miss Butch; wrote Peggy Scott-Adams' 1997 hit single, 'Bill' and produced Malaco musician Latimore. Lewis died in Los Angeles in 2004, aged 66 from unknown causes.

What Can I Do Now collects the complete classic recordings and contains his lone LP for the Hotlanta label (1974) and a complete singles collection, plus both Kent issued compilations, featuring a majority of unissued recordings. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks again to hwolf and original uploaders, enjoy.

Tuesday, 25 September 2018

Can't Do Nothing Without You

Although he only enjoyed regional success during his brief recording career, this gritty New Orleans-based singer has remained a firm favorite of soul aficionados in the decades since. This is the delightful Danny White!

New Orleans native Joseph Daniel White worked with several local R&B acts during the 50s, including a stint with Huey Smith’s backing group the Clowns. He made his solo debut in 1961 with the Dot Records platter ‘Give And Take’/‘Somebody Please Help Me’. Over the next six years he recorded singles for Frisco, ABC-Paramount, Kashe, Atlas, Atteru, Unity, and Decca Records, performing tracks by up-and-coming songwriters such as Earl King, Isaac Hayes and David Porter, and Allen Toussaint. His two Decca singles, 1966’s ‘Taking Inventory’/‘Cracked Up Over You’ and 1967’s ‘You Can Never Keep A Good Man Down’/‘Kiss Tomorrow Goodbye’, were produced by the pre-Hi Records Willie Mitchell. All of White’s recordings were characterized by his raw New Orleans vocal style, which led to some success on the local charts but limited his wider appeal. Apart from a couple of late 70s singles for the Rocky Coast label, nothing more was heard of White as a recording artist. He died in January 1996 after suffering a stroke.

Can't Do Nothing Without You collects everything Danny White laid down during the 60s. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders and Wikkid Pissa for the previously missing side, enjoy.

Saturday, 22 September 2018

Life Is Free

I don't know much at all about this man, but one thing I do know is that Donald Height was an unheralded singer/songwriter who unfortunately flew under pretty much everybody's radar. This giant of obscurity recorded in a wide array of styles from across the spectrum. R&B boppers, northern soul stompers, deep southern styled ballads, funked up ass-shakers and even hints of disco in later years. I put on my sleuth cap for this one and dug in deep friends. I also fortunately received an above and beyond helping hand from a very generous contributor.

Originally from Goldsboro, North Carolina, Height joined the Navy as a young man and after his service, he settled in New York, where it appears the bulk of his recordings took place. Despite having a hefty amount of top-notch songs under his belt, Height never had a big hit record and in fact, only had two chart entries in his career, with just one climbing above the Top 30; "My Baby's Gone" spent 8 weeks on the R&B Billboard charts and peaked at #20 in 1967 and "Games People Play" did only 3 weeks, peaking at #47 in 1969. One of his earlier recordings with The Hollywood Flames, "Gee" peaked at #26 in 1961 but I doubt much credit went Donald's way for it. In the 70s, either after or towards the end of his recording career, Height returned to Goldsboro where he lived out his remaining days, passing away in 1999 at age 59.

Donald Height's debut 45 came late in 1960 on King Records and fits right in with their fare at the time. The a-side, "I've Been Crying" is a blistering country tinged deep soul ballad and the flip, "How Lonely Can You Be" is a barn burning, bluesed out R&B rocker.

From 1961 to 1962 Height, like many others, did a brief stint as lead vocalist for The Hollywood Flames, who at that point were pretty far removed from their 50s doo-wop roots. There may be up to 5 unissued recordings from these sessions featuring Height on lead vocals. His released sides amounted to two 45s with the group (technically three). The first, released on Chess Records, "Yes They Do" bw "Gee" are both teen boppers but the former of the two features a burning, yearning vocal delivery from Donald. The second single with the Hollywood Flames was initially issued by Goldmark's Goldie Records and featured only one side with Height on lead. The flip-side was "Elizabeth" (a song about Elizabeth Taylor that Billboard hailed as "excellent"), featuring Curtis Williams on lead. However, late in 1962, Goldmark leased those sessions to Coronet Records who rolled out Height's previously released side, the haunting deep soul masterpiece "Believe In Me" and backed it with his oh so ironically titled "I Can't Get A Hit Record". Height's on lead here but it's more rantin', ravin', hootin' and hollerin' than singing on this number ... but it works well with its country jive vibe and somewhat comedic nature.

His follow-up solo credited 45 was one of four singles released by short-lived (I believe) L.A. based label, SooZee Records in 1962. "Take Your Loving On The Outside" is a sad but sweet soul drenched number with some some very nice yet subtle horn work. The flip, "Don't Cry" gives us a glimpse of why Height eventually found his widest audience with northern soul fans.

For reasons unknown to me, Height's next pair of singles were released under the name of Don Day Curtis on ABC-Paramount Records in 1963. Both singles are what I would call radio friendly/pop oriented standard soul fare for the time. And not that surprising as both were produced by and co-written and arranged by Teddy Vann. "The Story Of Janie" and "Bumble Bee" (with it's strong gospel-esque opening) are the best of these four recordings in my opinion.

His next single, released as Donald Height, was still under the heavy hand of Vann's production and was released via indie label Jubilee Records in the fall of that year. Much in the same vain as the ABC recordings but the b-side, "Soul Monkey Twist" is a super hit in my books. A superb southern style take on a popular NYC club dancer.

In 1964 Height moved to Hy Weiss' Old Town Records where he wrote, produced (or co-produced) and released 4 singles in a year. Here we find Height coming into his own sort of speak. His label debut was two beautiful ballads, "Crazy Little Girl" bw "I'll Never Forget You", the latter is perhaps slightly too up-tempo to be called deep soul but both songs certainly lean in that direction. The next single, "Pretty Girl" bw "You Can't Trust Your Best Friend" had a more jazzy bandstand approach, quite similar to what Freddie Scott was doing at that time. His next single, "Climbin' The Pole" bw "Baby Set Me Free" is a return to some rockin' R&B. Definitely dance-able but delivered with gritty and strained soulful yearning. Height's final 45 with Old Town was the wonderful deep soul offering "A Tribute To Sam" in tribute to the mighty Sam Cooke. The lyrics imply that they had a close personal relationship but I'm unclear as to if that's in fact true, and if so, in what capacity.

Reuniting with Teddy Vann in the spring of 1965, Height released a lone single with RCA Records produced by Vann. "Mr Ocean" is a smooth, sweet power-house of a ballad and "Girl Do You Love Me" is a gritty up-tempo all-night dancer. Both tracks feature some beautiful female backing vocals.

The Height/Vann duo paired up for 2 more singles before the year was up. Both released on Roulette Records. "I Can't Help Falling In Love" bw "Bow 'N' Arrow" and "Song Of The Street" bw "You're Too Much". Vann's pop-oriented production is prominent here. Though far more subdued, these recordings also have (unknown to me) female backing vocals that give these otherwise lacking tracks the gusto they so desperately needed.

In 1966 Donald Height rallied to Bert Berns' newly minted Shout Records where he released 7 scorchin' singles in just shy of 2 years.  The first Shout 45 was an absolute stunner! The funked out stomper "Talk Of The Grapevine" bw "There'll Be No Tomorrow". The latter being one of those slightly sped up deep soulers that was a staple of his Old Town stint. His horn and rhythm section is top notch to boot. The follow-up "You're Gonna Miss Me" bw "My Baby's Gone" are full fledged deep soul divers and feature Height's most powerful pipe work in my opinion. His unrestrained pleading in "My Baby's Gone" carry all the conviction of the southern style gospel soul heavyweights and sends shivers up and down my spine every time. "Three Hundred & Sixty Five Days" is a horn driven, funkafied blues rocker while its flip, "I'm Willing To Wait" is a piano driven deep soul number, accompanied by some enchanting group backing vocals. Height's only 1967 release, "We Gotta Make Up" bw "I Can't Get Enough" comes across as an attempted chart grabber to me. Shooting for the same sound that resembled acts like Sam & Dave (who were blowing up at the time). Thankfully the following year returned with a single more similar to his label debut. Leading this time with deep soul side, "Good To Me" bw the furiously funked up "Bona Fide Lover". Mirroring the same format, Height's next single led with the funky R&B cut "Rags To Riches" and featured a fairly decent deep soul flip with "Please Don't Hurt Me". His last 45 with Shout was a double dose of deep soul ... "You've Got To Be A Believer" bw "Never Let Me Go".

Shortly after Berns' untimely death and the eventual dissolution of Shout Records, Height's final 45 from those Shout sessions was released on Mayhew Records in the fall of 1968. "One Love" bw "Everything That Shines Ain't Gold". The former a forceful deep soul number, the latter an up-tempo R&B number, resembling his lone 1967 offering.

Towards the end of 1968, Height re-signed with Jubilee Records and working closely with producer Tommy Smalls, released 6 more righteous singles in the coming year. "Looking For My Baby", a strong mid-tempo humdinger, backed with one of Height's more stand-alone offerings ... Sonny & Cher's 1967 hit, "You Better Sit Down Kids" kicked them off. The follow-up, "Games People Play" bw "Looking For My Baby" (the a-side on the former single and also repeated on future releases) are a more appropriate pairing with their mid-tempo rhythm and slightly tortured vocal delivery. "Can't Take My Eyes Off You" bw "You Sure Know How To Make A Man Feel Good" slow it down again with a pair of sweet soul ballads. The former has a real jazzy flow to it while the flip is straight up deep soul. The next single featured only one new cut, "Don't Let Me Down" and it's one of Height's deadliest tracks. A cumulation of Height's various styles come to a head with this monster recording. "She Blew A Good Thing" is top-teir dancer right up northern soul fans alley. The flip "Twelth of Never" is the only track I'm missing and have yet to hear. His final 45 with Jubilee was another winner. The a-side "If I Can" is a great deep soul stunner and the b-side "If It Ain't Clean" is a lovely funkafied number featuring incredible vocal blasts from Height and some solid horns.

In 1970 Jubilee Records were in financial disarray and by early '71 declared bankruptcy. Height had a hard time finding a lasting home after this. A pair of one-off's came early in 1971 c/o Hurdy-Gurdy and Honey Records (NYC) but it was at this point that Height's recording efforts really began to peter out. The Hurdy-Gurdy 45 is far superior with its hard driving "Life Is Free", hands down one of my favorite funk jams to date. The flip "De Da Da" isn't phenomenal but a strong R&B offering all the same. The Honey 45 features 2 dance floor oriented numbers with "Dancing To The Music Of Love" and "Rags To Riches To Rags". Both of these tracks I could easily do without.

A lone single with Bell Records came in the summer of 1972. "Can't Live (Without You)" bw "Good Things Don't Always Last" find Height back in his comfy saddle with 2 mid-to-slow tempo ballads that straddle the line between deep soul and northern soul.

The following year Height surfaced on Dakar Records with a somewhat unimpressive single. "A Mean Thing" bw "Sumpin' Sumpin" broke no molds, nor showcased Height's previously established talents. 3 years later in 1976, a final single was issued by Dakar. "I Choose You" is a half decent soul song but the production here is geared towards disco audiences and the result is a far cry from Height's incredible early efforts.

Well folks, that's all I got. If any of you out there could share any pertinent information to add to this, I would deeply appreciate it. Looking for pre and post career details, marriage, special relationships (working or otherwise), studio musician details and/or interesting tidbits.

Life Is Free collects 61 of Donald Height's 62 sides in what's got to be the only retrospective collection available anywhere on the net! All files chronicled, cleanly tagged and MP3 @ 320kbs. Also included is a folder with corresponding labels. As always, thanks to original uploaders but a very special thank you to hwolf for providing close to 25% of these wonderful recordings and the only personal information gathered here. This collection very likely would not have seen the light of day without his contributions. <3 enjoy all!

*Missing side:
51. Donald Height - The Twelfth Of Never - 1969 - Jubilee 5681

Thursday, 20 September 2018

I Got Everything I Need

Widely regarded as the greatest song and dance duo in the business, Sam & Dave repeatedly set the bar higher and higher throughout the 60s and continuously surpassed their contemporaries in acclaim and sheer demand. Damn impressive considering neither had a whole lot of vocal range. However, they did have a natural propensity for performing, an admirable work ethic and both knew exactly how to exercise their strengths.

Sam & Dave met working the gospel music circuit, and later in small clubs in Miami during amateur nights in 1961. They sang together one night at the King of Hearts club, and started working together immediately thereafter, developing a live act featuring gospel-inspired call-and-response. Soul singer and record producer Steve Alaimo discovered them while performing during the same show with them at the King of Hearts nightclub in Miami and signed them to Marlin Records. After two singles in early 1962 were released on the local Marlin label owned by Miami's Henry Stone, Stone helped sign them to Roulette Records in New York City. They released six 45s from 1962–1964 (two were re-releases of Marlin recordings) with Roulette, and one single on Stone and Alaimo's Alston Label. A few of the singles received regional airplay, but did not achieve national chart success. The songs, some of which were produced by Steve Alaimo and some of which were produced by Henry Glover, were similar in many ways to R&B recordings by Sam Cooke, Jackie Wilson and Little Willie John. Prater was the lead vocalist on most of these singles, with Moore singing harmony and alternate verses. In summer 1964, Stone introduced the duo to Atlantic Records' Jerry Wexler, who signed them to Atlantic. Wexler asked Memphis, Tennessee-based Stax Records, which Atlantic distributed nationally, to work with Sam & Dave. Wexler wanted the Southern roots and gospel style of their live performances, so the pair were loaned to Stax to record, although they remained Atlantic Records artists. According to Wexler's autobiography Rhythms & Blues, "Their live act was filled with animation, harmony and seeming goodwill. I put Sam in the sweet tradition of Sam Cooke or Solomon Burke, while Dave had an ominous Four Tops' Levi Stubbs-sounding voice, the preacher promising hellfire." When Sam & Dave arrived at Stax, they worked with producer & engineer Jim Stewart and songwriters including the MGs' guitarist Steve Cropper, who wrote or co-wrote four of their first eight recordings. The duo then moved to relative newcomer writers and producers Isaac Hayes and David Porter. Hayes and Porter wrote and produced the duo's biggest hits (although they did not receive production credits until the Soul Men LP and singles). According to Moore and Prater, they also greatly influenced the duo's singing style, and shifted their recording style from the style of their Roulette records to a more live, more energetic gospel, call-and-response feel and beat driven soul style the group is known for today. Sam & Dave's Stax records also benefited from the musicians and engineering at Stax. The Stax house band, Booker T. & the M.G.'s, and the Stax horn section, the Mar-Keys, were world-class musicians who co-wrote (often without credit) and contributed to recordings—the same musicians who recorded with Otis Redding, Wilson Pickett, Carla Thomas and other soul artists. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder Jim Stewart, who created the Memphis Sound by recording live in a single take. Stewart is credited for instrumental mixes that allowed for instrumental separation and the distinct contribution of each instrument to the overall feel of the song. While the first two Stax singles failed to chart, the third, the Hayes/Porter composition (with similarities, including the title, to a gospel standard) "You Don't Know Like I Know" hit #7 R&B in 1966. This was the first of 10 consecutive Top Twenty R&B chart hits over three years, and 14 R&B chart appearances during their career. Sam & Dave's live act earned them the nickname "Double Dynamite." Phil Walden, Otis Redding's manager, said "I think Sam & Dave will probably stand the test of time as being the best live act that there ever was. Those guys were absolutely unbelievable. Every night they were awesome." An article from Time in October 1968 reads: "Of all the R&B cats, nobody steams up a place like Sam & Dave ... weaving and dancing (while singing!), they gyrate through enough acrobatics to wear out more than 100 costumes per year." Jerri Hershey described in Nowhere to Run: They carried red suits, white suits, three piece lime green suits, all with matching patent boots and coordinated silk hankies woefully inadequate to absorb a soul man's nightly outpourings. Both Sam & Dave talk a lot about sweat. To Dave, its proof that he's worked for his pay. For Sam its essential, almost mystical. He says he cannot work without it. "Unless my body reaches a certain temperature, starts to liquefy, I just don't feel right without it." Wayne Jackson said Sam & Dave left puddles of sweat onstage by the end of a performance. In March 1967, Sam & Dave were co-headliners for the Stax/Volt Revue in Europe, which included Booker T & the MGs, The Mar-Keys, Eddie Floyd, Carla Thomas, Arthur Conley and headliner Otis Redding. It was the duo's first trip to Europe. Although Redding headlined the tour, many agreed Sam & Dave stole the show on many nights. According to Redding's and Sam & Dave's manager Phil Walden, Redding refused to be booked on the same bill with Sam & Dave again, not wanting to have to follow their explosive act. A live version of "Soothe Me" from Sam & Dave's Double Dynamite LP was recorded in Paris during the 1967 tour. Released as a single in mid-1967, it continued Sam & Dave's string of top 20 U.S. R&B hits and was their first in the UK Top 40. The year 1969 started well, with the Atlantic release of The Best of Sam & Dave LP in January. It contained all of their Stax A sides except "A Place Nobody Can Find" and several B-sides, and peaked at #24 on the R&B LP charts and #89 on the Billboard LP charts. Their first single of the year, "Soul Sister, Brown Sugar," returned Sam & Dave to the R&B top 20, and was a #15 hit in the UK. The follow-up "Born Again," reached the lower levels of the charts, and was the last single Sam & Dave recorded at Stax. Jerry Wexler with co-producer Tom Dowd tried producing Sam & Dave in New York, with Atlantic songwriters and musicians. It took eight months to issue "Ooh, Ooh, Ooh", the first Atlantic single in August 1969. It was not a very good record, by Sam's own admission, and it represented the first time in four years that a Sam & Dave single failed to chart. Two more singles followed in 1970, "Baby, Baby, Don't Stop Now," and "One Part Love, Two Parts Pain." The first was a leftover Hayes-Porter recording from Stax; the second was produced by Wexler and Dowd in New York, and was written by Stax executive Al Bell and Allen Jones. Both failed to chart. According to Wexler, "We just made some shit-ass records with them. I never really got into their sensibilities as a producer." Wexler then sent the duo south to Muscle Shoals and Miami to work with producers Brad Shapiro and Dave Crawford for their next single "Knock It Out The Park," which also failed to chart. Sam & Dave split in June 1970 as a result of Moore's dissatisfaction with the duo and his desire to pursue a career solo. According to Prater, they broke up because "[Moore] decided to do what he wanted to do on his own." Moore recorded three solo singles (none of which charted) for Atlantic over the next year and was preparing an album produced by King Curtis, which was shelved after Curtis was stabbed to death in 1971. Prater recorded a single for Alston. Neither was commercially successful as a solo act, and they reunited in August 1971. In October 1971, their last Atlantic single, "Don't Pull Your Love," was a cover of a hit by Hamilton, Joe Frank & Reynolds. This Shapiro/Crawford production was a minor hit (R&B #36/Pop #102), but not a substantial enough commercial success to keep the duo signed to the label. Sam & Dave recorded four final songs for Atlantic in August, 1972, none of which was released by the label. Their contract with Atlantic expired shortly thereafter. Despite inability to attract a major label after Atlantic, there was still demand for public performances, especially in Europe. They toured Turkey in Spring, 1972 and England in Spring, 1973. Sam & Dave also continued to be visible in the U.S., performing on TV shows including The Midnight Special and The Mike Douglas Show. According to Sam, most U.S. shows in the 1970s were small clubs, oldies shows, and whatever they could get. He attributed their poor bookings during this period to rumors of drug use and bad blood between the duo. Sam & Dave returned to the studio in 1974 and 1975, recording an album of new songs titled Back at Cha for United Artists. The album – their first album of new material in 7 years – was produced by Steve Cropper, and featured the MGs and The Memphis Horns and had a minor R&B single, "A Little Bit of Good" (R&B #89). Songwriters included Cropper, Allen Toussaint, and Jimmy Cliff.[17] Although the LP received positive reviews, it failed to chart. In a side project, they provided vocals on "Come On, Come Over" for Jaco Pastorius for his debut album on Epic in 1976. In 1976–77, Sam & Dave recorded songs in the UK with producer John Abbey. Two singles were released on Abbey's Contempo label in the UK and Germany, with limited success. Ironically, given the duo's disputes, one of the last singles by Sam & Dave was a cover of The Beatles "We Can Work It Out." Sam & Dave also briefly retired in 1977, with Dave working at a Pontiac dealership in New Jersey and Sam working at an Austin, Texas, law firm as a process server. In 1978, Sam & Dave re-recorded old hits for the LP Sweet & Funky Gold (Gusto), and re-recorded songs and other soul hits during this period in Nashville for an album for K-Tel Records, The Original Soul Man. In Summer, 1978, they toured Germany for two weeks. In 1979, Sam & Dave enjoyed a significant resurgence of interest as a result of Dan Aykroyd's and John Belushi's sketch characters The Blues Brothers,and the comic actors' 1979 top 40 cover of "Soul Man." Moore stated they were offered an opportunity to perform onstage with Belushi and Aykroyd on SNL but turned it down when Belushi said Sam & Dave had to perform the intro, then the Blues Brothers would take over. According to an April 1988 interview with Aykroyd in the Chicago Sun-Times, Aykroyd saw Sam & Dave as a teenager at the Montreal Expo in 1967, and said they were one of his biggest influences for creating The Blues Brothers. Aykroyd convinced director John Landis to include the Jake and Elwood Blues characters listening to "Hold On, I'm Comin'" and "Soothe Me" while riding in the Bluesmobile in the 1980 film The Blues Brothers as a tribute to Sam & Dave. Also in 1979, Sam & Dave opened shows for The Clash on their U.S. tour, including at the Palladium in New York City. In 1980, the duo performed in Paul Simon's film One Trick Pony and on Saturday Night Live. In 1980, they also were featured in a U.S. tour opening for the 1950s band Sha Na Na. In 1981, they re-recorded many hits along with Sam Cooke and Otis Redding covers for LPs titled Soul Study Vol. 1 and Soul Study Vol. 2 (Odyssey). The pair last performed on New Year's Eve, 1981, at the Old Waldorf in San Francisco. According to Moore, when they walked off stage it was the last time they spoke to each other.

I Got Everything I Need collects it all folks ... the 4 classic LPs (1966-68), Sam Moore's shelved LP (1970) released in 2002, Back At 'Cha (1975), Sweet & Funky Gold (1978), the second batch of 1978 re-recordings released as 'Best of Sam & Dave' circa K-Tel Records (1985), the 1981 re-recordings issued as Soul Study volumes 1 and 2 (1982) and of course, a singles collection covering the group's classic output from 1962 to 1977, including the Live Stax Revue cuts and a handful of unissued recordings from that time. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Tuesday, 18 September 2018

Now That You're Gone

Blessed with an extraordinary set of soaring pipes, McKinley Mitchell waxed a series of superb Chicago soul platters during the 60s, later veering stylistically closer to contemporary blues in his last years of performing. A splendid platter with a little for everyone, no matter which you prefer.

At age 16, Mitchell was already fronting a gospel group, The Hearts of Harmony, in Jackson. After spending time singing spirituals in Springfield, MS, and Philadelphia, Mitchell hit Chicago in 1958 and went secular. A rocking debut for the tiny Boxer label the next year preceded his signing with George Leaner's fledgling One-derful logo in 1961. His first single for the firm, the gorgeous soul ballad 'The Town I Live In' proved a national R&B hit and launched the imprint in high style. Mitchell's One-derful follow-ups, including the imaginative 'A Bit of Soul' failed to equal the heights of his first single; neither did 45s for Chess (produced by Willie Dixon) and a variety of Dixon-owned labels. Finally, in 1977, Mitchell returned to the R&B charts with 'The End of the Rainbow', another beautiful R&B ballad, for Malaco's Chimneyville subsidiary. An eponymous LP for the label the next year stunningly showcased Mitchell's still-potent voice on a program that combined blues and soul material. A 1984 LP for Retta's, I Won't Be Back for More, was among the singer's last releases (by then, he was back living in Jackson). Mitchell died in Chicago Heights, Illinois from a heart attack in January 1986, at the age of 51.

Now That You're Gone collects the complete works of McKinley Mitchell. All 3 LPs and a singles collection containing 50 sides plus 10 unissued recordings (mostly from the One-Derful vaults). All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.


Saturday, 15 September 2018

Get Out Of My Life

Not one of my very favorite female vocalists by any stretch but there's no denying her dynamic pipes, nor incredible range. Commonly referred to as Soul Sister #1, Marva Whitney was considered by many funk enthusiasts to be one of the "rawest" and "brassiest" music divas. Leaving a lasting impression in the world of soul and funk music despite a relatively minimal output from her prime and a debut LP that has still yet to see the light of day.

Born in Kansas City, her performing career started as early as three years old while touring with her family's gospel group, the Manning Gospel Singers. At the age of 16 she joined the Alma Whitney Singers and two years later she married Harry Olander Whitney with whom she had a daughter Sherrie Whitney. She began singing R&B music for the first time in 1963 at a Kansas City venue and studied music at college. Whilst working at a garment factory, she continued performing in nightclubs and at local talent competitions, and by the mid 60s had joined local group Tommy (Gadson) & The Derbys as their lead singer. The group opened for many leading performers passing through Kansas City. In 1967, she left the group, and turned down offers to tour with Bobby Bland and Little Richard before joining the James Brown Revue as a featured vocalist. Her marriage to Harry Olander Whitney had ended in divorce in 1965. Subsequently, she was married, albeit briefly to disc jockey Phil Wardell. Her first solo single, 'Your Love Was Good To Me', was recorded for King Records in mid-1967, but was unsuccessful as were two follow-up singles. She toured Europe, Asia and Africa with James Brown with whom she was in a relationship, and in early 1968 he produced her fourth solo single, 'Unwind Yourself' in a more funky style. Although the record was not a chart hit, it was later sampled numerous times. Whitney's first chart hit came with 'It's My Thing (You Can't Tell Me Who To Sock It To)', a response to The Isley Brothers' hit 'It's Your Thing'; her record reached #19 on the Billboard R&B chart and #82 on the Billboard Hot 100 in 1969. She followed up with two smaller hits, 'Things Got To Get Better (Get Together)' (R&B #22) and 'I Made A Mistake Because It's Only You' (R&B #32), and also recorded songs like 'I'm Tired, I'm Tired, I'm Tired (Things Better Change Before Its Too Late)' and 'If You Don't Work (You Can't Eat)'. After recording 3 albums and about a dozen singles between 1968 and 1970 with James Brown as producer and writer or co-writer, an exhausted Whitney left the Brown stable in 1970 and returned to Kansas City. Clarence Cooper and Allan Bell took over her management and initially struggled to get Whitney into major venues. A trip to Chicago in 1970 and a visit to producer Floyd Smith resulted in a contract for the Isley Brothers' T-Neck label. After divorcing Phil Wardell, she married Ellis Taylor of Forte Records with whom she had a son, and recorded further singles for the label, including 'Daddy Don't Know About Sugar Bear', her most successful post Brown single that was picked up for national distribution by Nashville's Excello records. She retired from recording for several years making only local appearances in Kansas City, returning to the studio in 1977 for a Forte single with her brother Melvin Manning. She divorced Taylor in 1977 and relocated to Los Angeles for the next fifteen years. In the early 80s she briefly joined a group, Coffee, Cream & Sugar, formed by singer Alfred "Pico" Payne and Mary Lou Flesh. Later in the 80s, she started to perform regularly with former James Brown band members such as Maceo Parker, Fred Wesley, Pee Wee Ellis, and Lyn Collins, as the JB Allstars. She returned to Kansas City as it became apparent that Funk music was essentially unfashionable and opportunities were sparse. She later married for the fourth time; a preacher and returned to her gospel roots. In 2006, Whitney collaborated with German born DJ/collector/manager DJ Pari and Japanese funk orchestra Osaka Monaurail to produce a new single, 'I Am What I Am'. Osaka Monaurail style themselves on the James Brown sound and the single was produced in the fashion of an authentic release of the recordings she produced with Brown in 1969. Two successful tours of Japan and a full-length album release followed, also entitled 'I Am What I Am'. In 2007, 2008 and 2009, the tour was also brought to Europe where she maintained a cult following. In December 2009, Whitney collapsed on stage in front of thousands of fans in Lorne, Australia, while performing with The Transatlantics at Falls Festival. She was immediately rushed to Geelong Hospital, where doctors diagnosed a stroke. The remaining dates of her tour had to be canceled, but Whitney made a partial recovery and performed again in 2010. In December 2012, Whitney died from complications of pneumonia at her home. She was 68.

Get Out Of My Life collects pretty near the entirety of Marva's output between 1967-77 including the It's My Thing and Live & Lowdown At The Apollo LPs, with a close to complete 45s collection. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*Missing Sides
08. Marva Whitney - All My Love Belongs To You - 1968 (King 6181)
24. Marva Whitney - Just Won't Do Right - 1970 (King 6327)

Thursday, 13 September 2018

GGG Presents Goodie Grab Bags Volume 06

Three knuckles deep in the grab bags once again, retrieving a great little group of Southern and Northern soul nuggets. With a nod to vocal groups this week, we have the complete works of The Lyrics, The Carltons, (the very short-lived) The Right Kind and wrapping up with the few known recordings by The Toppiks, believed to be an early incarnation of Blue Magic.

The Lyrics - Discography 1962-64 [8sides]

01. The Lyrics - 1962 - Down In The Alley (Mid South 1500)
02. The Lyrics - 1962 - Crying Over You (Mid South 1500)
03. The Lyrics - 1963 - Let's Be Sweethearts Again (Fernwood F-234)
04. The Lyrics - 1963 - You And Your Fellow (Fernwood F-234)
05. The Lyrics - 1963 - Darling (Goldwax 101)
06. The Lyrics - 1963 - How A Woman Does Her Man (Goldwax 101)
07. The Lyrics - 1964 - So Hard To Get Along (Goldwax 105)
08. The Lyrics - 1964 - The Side Wind (Goldwax 105)

The Carltons - Discography 1964-65 [8sides]

01. The Carltons - 1964 - Can't You Hear The Beat (Argo 5470)
02. The Carltons - 1964 - Ooo Baby (Argo 5470)
03. The Carltons - 1964 - Later Than You Think [w Andy Mack] (Chess 1910)
04. The Carltons - 1964 - Do You Wanna Go [w Andy Mack] (Chess 1910)
05. The Carltons - 1964 - Hey Mr Lonesome (Argo 5482)
06. The Carltons - 1964 - Easy Livin' (Argo 5482)
07. The Carltons - 1965 - I'm A Man (Argo 5517)
08. The Carltons - 1965 - Keep On Hoping (Argo 5517)

The Right Kind - Discography 1968 [6sides]

01. The Right Kind - 1968 - I've Been Changed (Galaxy 759)
02. The Right Kind - 1968 - (Tell Me) Why Do You Have To Lie (Galaxy 759)
03. The Right Kind - 1968 - You Oughta Slow Dance Baby (Galaxy 761)
04. The Right Kind - 1968 - My Money Is Funny (Galaxy 761)
05. The Right Kind - 1968 - The Right Kind Of Guy (Galaxy 765)
06. The Right Kind - 1968 - Going Back (Galaxy 765)

The Toppiks - Discography 1970-71 [3sides]

01. The Toppiks - 197X - Give It A Chance To Grow (Larsam 12739)
02. The Toppiks - 197X - Surrender (Larsam 12739)
03. The Toppiks - 197X - Win All Your Love (Unissued)

Tuesday, 11 September 2018

Long Cold Winter

Described as "one of the South's great lost soul singers, an impassioned stylist whose voice was a combination of sweetness and sandpaper grit." Much like George Jackson, whose bulk of of prolific recordings went unissued at the time, Geater Davis contributed much more to deep soul than what saw the light of day before his death.

The youngest of five children, Vernon 'Geater' Davis was born in Kountze, Texas. In the late 60s he was heard performing, along with Reuben Bell, by record producer Allen Orange. Orange arranged for them to record in Birmingham, Alabama, and started his own House of Orange label to release their output. Geater's first release, 'Sweet Woman's Love' in 1970, reached #45 on the Billboard R&B chart. His follow-up singles on the House of Orange label, including 'I Can Hold My Own' and 'Best Of Luck To You' were less commercially successful, but he recorded an album, Sweet Woman's Love, which is now considered a classic of the deep soul genre. He often wrote or co-wrote his own material. After Orange closed his label in 1972, Davis recorded for the Luna label, and then for John Richbourg's Seventy Seven label, where several of his recordings such as 'I'm Gonna Change' and 'A Whole Lot Of Man' were made at the FAME Studios in Muscle Shoals. His 1973 single, 'Your Heart Is So Cold' reached #64 on the R&B chart. During his career, Davis was often compared to fellow soulblues singer, and good friend, Bobby Blue Bland, because of their similar voice and vocal styling, but Davis' vocals were heavier and darker in tone. Also, Davis played guitar in the studio, as well as live, something Bland did not do. However, Davis' records did not generally sell well, despite heavy touring on the blues and chitlin circuits. He recorded for the Ace label in the mid 1970s, and later issued some disco singles on the revitalized House Of Orange label. In 1981 he joined the MT label run by James Bennett in Jackson, Mississippi, which issued several singles and his second LP, Better Days. Sadly Davis died of a heart attack the following year. In 1985, as a tribute to his friend, Bobby Blue Bland re-recorded two of Davis' most popular tracks on his Members Only album, 'Sweet Woman's Love' and 'I've Just Got To Know'. In 1998, West Side Records released Sadder Shades of Blue: The Southern Soul Sessions 1971–76, a compilation covering most of his recordings other than those for House of Orange. A few other compilations followed, further unearthing hidden gems from the Geater Davis vaults.

Long Cold Winter collects pretty close to everything ... a complete singles collection (less 1 side)*, the House of Orange LP (1971), the MT LP (1983), the rarities compilations Sadder Shade Of Blue (1998) and The Lost Soul Man (2005). All files chronicled, cleanly tagged and MP3 @ 320kbs (except The Lost Soul Man @ vbr). Thanks to original uploaders, enjoy.


DL and extract both parts together

*Missing 45 Side:
Geater Davis - 1979 - Disco Music (House Of Orange 79-100)

Saturday, 8 September 2018

What Can I Do

R&B and Soul has surely seen its fair share of unique and eccentric entertainers, but very few could hold a candle to the fantastic and flamboyant Bobby Marchan! Admittedly, I'm not a huge fan of his early offerings. However, his 60s soul cuts are of the highest caliber in my books.

Born Oscar James Gibson, 30 April 1930, Youngstown, Ohio. As a teenager Marchan began working some of the clubs in his hometown of Youngstown, Ohio, as a drag comedian singer. By 1953 he was working in a troupe of female impersonators known as the Powder Box Revue, who came to New Orleans to perform at the Dew Drop Inn. He liked the city’s liberal attitude, decided to stay and accepted a job as MC at the Club Tijuana. There he was discovered by Aladdin president Eddie Mesner, who produced a session by Marchan at Cosimo Matassa’s studio in March 1953. This resulted in the single “Have Mercy”/“Just A Little Walk” (Aladdin 3189), followed in 1954 by a release on Dot (“Just A Little Ol’ Wine”), credited to Bobby Marchon. Next he found himself recording for Johnny Vincent’s Ace label out of Jackson, Mississippi. When Vincent signed him, he thought Marchan was a female artist. Bobby’s first single for Ace, “Give A Helping Hand”/“Pity Poor Me” (1955) was released under the name Bobby Fields, probably because Marchan was still under contract to Dot. These two songs were pure blues, but then rock ’n’ roll exploded and Marchan adjusted his style for the second Ace single, “Chickee Wah-Wah”/“Don’t Take Your Love From Me” (late 1956). Both songs were written by Huey Smith, who became a close friend. Smith and Marchan decided to form a group, Huey ‘Piano’ Smith and the Clowns, with Marchan as the lead vocalist. (Earlier Ace singles by Smith were credited to Huey Smith and the Rhythm Aces.) With Marchan’s distinctive vocals and pianist Smith’s boogie woogie stylings, the Clowns scored several hits in 1957-58 : “Rockin’ Pneumonia and the Boogie Woogie Flu” (# 52), “Don’t You Just Know It” (# 9) and “Don’t You Know Yockomo” (# 56). Huey Smith didn’t like touring and Marchan became the leader of the Clowns. As such his duties included rehearsing and hiring the vocalists, dancers and musicians. Other members of the Clowns at that time were Gerri Hall, John ‘Scarface’ Williams, Eugene Francis and Billy Roosevelt. James Booker replaced Huey Smith on piano during live performances. “He sounded like Huey, so nobody knew any better. Besides, most people thought I was Huey when we performed” (Marchan an in interview with Jeff Hannusch, 1983). It was Marchan who sang on the original version of “Loberta”, which became “Roberta” when Frankie Ford overdubbed his vocals (B-side of “Sea Cruise”). A 1959 single by the Clowns, “Rockin’ Behind the Iron Curtain”/“You Can’t Stop Her” was credited to Bobby Marchan and the Clowns, though Huey Smith still played piano on both sides. “Quit My Job”/“Hush Your Mouth” (Ace 595) was credited to “Bobby Marchan with Huey Smith and his band”. It was released in June 1960, but recorded two years earlier and the vocalist on “Quit My Job” sounds like someone else than Marchan. By 1960 Marchan had become dissatisfied with his situation. He felt he was sacrificing his own career in order to keep another artist’s name in the public eye. He left the Clowns and signed a solo contract with the Fire label in New York City, owned by Bobby Robinson. His first single for Fire, “Snoopin’ and Accusin’” was still very much in the Clowns style. Then came Marchan’s cover of “There Is Something On Your Mind”, a slow song, originally recorded by Little Sonny (Warner) with Big Jay McNeely’s band and a # 5 R&B hit in mid-1959. Marchan’s impassioned performance of the song was released as a two-part single and went all the way to the top of the R&B charts in July 1960 (also # 31 pop). Several other Fire singles followed, but Marchan could not repeat his success and would not see the charts again until 1966 when he scored a moderate hit with “Shake Your Tambourine” (# 14 R&B), on the Cameo label. By that time Bobby was an established soul artist, who had recorded for Volt, Dial and other labels. One of his Dial recordings (1965) was his own composition “Get Down With It”, which would later by recorded by Little Richard (for OKeh) and which also gave British glam-rockers Slade their first chart entry in 1971. Marchan renewed his association with Johnny Vincent, who attempted to reactivate his Ace label in 1974. Bobby had one release in the new Ace 3000 series (“What Can I Do”, originally recorded by Donnie Elbert in 1957) and helped produce a minor hit for Willie Dixon, covering Al Green’s “God Blessed Our Love”. Two years later Marchan was back in New Orleans, where he continued to record and to work as a female impersonator. In 1987 he recorded his last single, an update of “There Is Something On Your Mind”. Health problems in the 1990s began to limit his live appearances. After a long battle with liver cancer, Bobby Marchan died on December 5, 1999, aged 69.

What Can I Do is a damn near complete collection of Marchan's recording career up until 1977; 95 tracks (less one early side and a late 70s single). A few singles with Huey Piano Smith & The Clowns post-date Marchan's departure from the group but several sources and my ears believe these tracks were recorded years prior to their release and feature Marchan on vocals. As an added bonus I've included the 'Clown Jewels - Ace Masters 1956-75' album. More than 2/3's of this compilation is previously unissued songs and/or alternate cuts of previously issued recordings. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

04. Bobby Marchon - 1954 - You Made A Fool Of Me (Dot 1203)
91. Bobby Marchan - 1977 - Shake It, Don't Break It (Sansu S1011)
92. Bobby Marchan - 1977 - Do You Wanna Dance (Sansu S1011)

Thursday, 6 September 2018

Sweet Things You Do

Though his recording career could be considered just "a flash in the pan", the flash was bright as the sun and the pan was just as sizzlin'! Jimmy Hughes surpassed so many of his contemporaries, simply, by quitting while he was ahead. No fall-short shots at cashing in on the disco craze or over-produced modern soul monotony from this monster of soul. His three LPs released between 1964 and 1969 are solid gold and just enough in my opinion.

Hughes, a cousin of Percy Sledge, was born and raised in Leighton, Alabama, close to Muscle Shoals. He began singing in a gospel quartet, The Singing Clouds, while at high school. In 1962, he auditioned for record producer Rick Hall at his FAME Studios. Hall was impressed, and recorded Hughes on a song, 'I'm Qualified', that Hall had co-written with Quin Ivy. The record was leased to the Guyden label in Philadelphia, but was not a hit. Hughes returned to his day job at a rubber factory, and began singing secular R&B songs in local clubs. Early in 1964, he returned to Hall with a powerful ballad he had written, 'Steal Away', partly based on the gospel song 'Steal Away to Jesus' and recorded the song in one take, backed by the studio rhythm section of Terry Thompson, David Briggs, Norbert Putnam and Jerry Carrigan. Hall and his friend Dan Penn then promoted the record around radio stations in the South, and it rose to #17 on the Billboard Hot 100. The record has been cited as "a prototype not only for subsequent great soul singers such as Johnnie Taylor and Al Green, but also would help define the signature Muscle Shoals sound." On the basis of Hughes' record, Hall signed a national distribution deal with Vee-Jay Records for his FAME label. Hughes' follow-up record, 'Try Me' reached #65 on the Hot 100, and he recorded the full length album Steal Away, released on the Vee-Jay label, which included the first songwriting collaborations between Dan Penn and Spooner Oldham. Hughes also toured with Sam Cooke, Jackie Wilson, Bobby Womack and others. Hughes' next few singles were unsuccessful, as Vee-Jay Records diverted their attention to The Beatles and The Four Seasons and then folded. However, in 1966, after the success of Percy Sledge's 'When A Man Loves A Woman', Hall negotiated a new deal for his label to be distributed by Atlantic Records. Hughes returned to the charts with 'Neighbor, Neighbor' (#65 pop, #4 R&B), 'I Worship The Ground You Walk On' (#25 R&B) and 'Why Not Tonight' (#90 pop, #5 R&B), before moving to the Atlantic label itself with 'It Ain't What You Got' (#43 R&B, 1968). Early in 1968, Hughes moved to Stax Records, where his recordings were issued on the subsidiary Volt label. His first record for the label, 'I Like Everything About You' reached #21 on the R&B chart, but later records were less successful. At the time, Stax was undergoing a major reorganisation with new management and new artists. Although his records, including the 1969 album Something Special, were produced by label boss Al Bell, Hughes later stated that he felt like the "low man on the totem pole" at the label and became frustrated by what he saw as a lack of promotion. He also tired of touring and being away from his family, and in 1970 gave up recording and performing. He retrained and got a government job making parts for nuclear power plants in the Tennessee River Valley, in later years only singing as a member of the congregation of his local church in Leighton.

Sweet Things You Do is the complete Jimmy Hughes discography ... the Steal Away (1964), Why Not Tonight (1967) and Something Special (1969) albums alongside a complete 45s collection, including a whopping 22 unissued cuts from both the FAME and Stax camps. All files chronicled, cleanly tagged and mp33 @ 320kbs. Thanks to original uploaders, enjoy.

Tuesday, 4 September 2018

Faithful And True

When I find my self down in the dumps, battered and tattered by this world of woes ... I've gotta go-to "pick-me-up" that never fails to do the trick every time. Headphones, system cranked and a steady stream of the first 3 classic LPs by power-house soul balladeer Percy Sledge.

Born in Leighton, Alabama Percy sledge worked in a series of agricultural jobs in the fields in Leighton before taking a job as an orderly at Colbert County Hospital in Sheffield, Alabama. Through the mid-60s, he toured the Southeast with the Esquires Combo on weekends, while working at the hospital during the week. A former patient and mutual friend of Sledge and record producer Quin Ivy introduced the two. An audition followed, and Sledge was signed to a recording contract. Sledge's soulful voice was perfect for the series of soul ballads produced by Ivy and Marlin Greene, which rock critic Dave Marsh called "emotional classics for romantics of all ages". 'When A Man Loves A Woman' was Sledge's first song recorded under the contract, and was released in March 1966. According to Sledge, the inspiration for the song came when his girlfriend left him for a modelling career after he was laid off from a construction job in late 1965, and because bassist Calvin Lewis and organist Andrew Wright helped him with the song, he gave all the songwriting credits to them. It reached No. 1 in the US and went on to become an international hit. 'When A Man Loves A Woman' was a hit twice in the UK, reaching No. 4 in 1966 and on reissue, peaked at No. 2 in 1987. The song was also the first gold record released by Atlantic Records. The soul anthem became the cornerstone of Sledge's career, and was followed by 'Warm And Tender Love', 'It Tears Me Up', 'Take Time to Know Her' (his second biggest US hit, reaching No. 11), 'Love Me Tender' and 'Cover Me'. Sledge charted with 'I'll Be Your Everything' and 'Sunshine' during the 70s and became an international concert favorite throughout the world, especially in the Netherlands, Germany, and on the African continent; he averaged 100 concerts a year in South Africa. Atlantic issued a series of singles and compilation LPs specifically for these countries and regions, containing recordings unavailable in the US. These releases have since become rare collectors items by enthusiasts across the world.

Faithful And True is one of my very favorite collections and gathers everything from this legendary balladeer's early career. The first 5 classic US LP releases (1966-69), My Special Wish For You (1969) which was his first South African release, other SA releases ... Percy Sledge Show (recorded live in Johannesburg 1970), Percy Sledge in South Africa LP (1971), the Soul Africa OST (1971)* and The Golden Voice Of Soul LP (1974). Wrapping up with his lone album back stateside with Capricorn Records (1974), the unissued at time Sings Country LP recorded at Gusto Records in Nashville, circa 1979 and last but not least, a complete 45s collection (1966-77) featuring alternative cuts to the album versions, some rare foreign 45s and a handful of unissued recordings. All files chronicled, cleanly tagged and mp3 @ 320kbs.

* Soul Africa OST rip is terrible quality (would very much appreciate an upgrade)

Saturday, 1 September 2018

Sittin' Here Thinkin'

It's not all that often that I feature Blues singers but I think in this instance it might be warranted. And anyhow, as the 60s marched on, King Solomon certainly mixed it up with an infusion of some crossover soul cuts and even some down right funky jams come the mid to late 70s.

Born in Tallulah, Louisiana, USA. Solomon enjoyed singing in the local church choir and for 10 years he was a member of the popular Friendly Brothers Spiritual Quartet. It was while touring with them that he made the switch to blues singing, subsequently appearing on the same bills as artists such as B.B. King and Etta James. He made his first record in 1959 and he has appeared on numerous small labels since, with records occasionally being leased to larger companies such as Checker and Kent. Based in California for most of his recording career and has made only one album; a socially and politically conscious funk-blues crossover album called 'Energy Crisis' in 1978. The Diving Duck label did release a well-received compilation of his older 45 material. Solomon continues to sing occasionally in small clubs in Los Angeles.

Sittin' Here Thinkin' collects pretty close to everything released. I suspect there may be one or two 45s I'm missing ... What we do have though, is 16 singles on nearly as many labels and the 1978 LP on Celestial Records. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.