Tuesday, 31 December 2019

GGG Presents New Recipes Volume 03

My last attempt to prepare a posting ahead of time and publish from the road didn't fare too well so I'm coming up a day late and dollar short today as I was absent again yesterday. Anywho ... the last day of the year for some, the first day of the year for others. Either way, the latest batch of GGG Presents New Recipes seems like a mighty appropriate way to wrap one up or welcome one in. I make no promises nor resolutions, but know that I have some new and (hopefully) interesting things in the pipeline. For now, party proper pals and see you on the other side.


01. Kelly Finnigan - 2019 - Every Time It Rains
02. Carlton Jumel Smith - 2019 - You Gonna Need Me
03. James Mason - 2019 - Mbewe
04. The Sentiments - 2018 - She Won't Be Gone Long
05. Lettuce w. Marcus King - 2019 - Love Is Too Strong
06. Southern Avenue - 2019 - Keep On
07. Smuggler Brothers - 2019 - Deciditi, Bestia
08. Hannah Williams & The Affirmations - 2019 - I Can't Let This Slip Away
09. Lee Fields & The Expressions - 2019 - Will I Get Off Easy
10. Menahan Street Band - 2018 - Black Velvet
11. The Mighty Mocambos - 2019 - Where Do We Go From Here
12. Bonita & The Blues Shacks - 2019 - Make Me Yours
13. Thee Sinseers - 2019 - I Don't Mind
14. Booker T. Jones - 2019 - These Arms Of Mine
15. The Dap-Kings - 2018 - Look Closer (Can't You See The Signs)
16. Joey Quinones - 2019 - Don't Tell Me
17. Ural Thomas & The Pain - 2018 - Gotta Say (I Love You)
18. Aiff - 2019 - Circles
19. Charles Bradley - 2018 - Can't Fight The Feeling
20. The New Mastersounds - 2019 - Layin' Low
21. The New Mastersounds - 2019 - Lovely Daze
22. Durand Jones & The Indications - 2019 - What I Know About You
23. No Lovely Thing & Melissa Jones - 2019 - Abused
24. The Sure Fire Soul Ensemble - 2019 - Campus Life
25. DeRobert & The Half Truths - 2018 - Judgement [Parts 1 + 2]

NR03

Friday, 27 December 2019

God Ain't Blessing America

Aside from a little turkey and the fixings, friends, family and a bit of boozing, I can't stand the Christmas season! Can't stand the fake cheer, the capitalist commerce, the thick crowds, tacky decorations and don't even get me started on the god awful candy-coated music. I'm no Grinch about it though, to each their own an all but I do my best to just avoid the whole deal. In this pseudo satirical spirit of going against the grain, thought I'd share an artist who has spent the better part of his career, proudly out of step to the rhythm of soul/funk contemporaries at the time. Virginia native Jerry Williams Jr. (later known as Swamp Dogg) was just that! Williams played the game throughout the 60s and despite being on the bleeding edge of the music, exhibiting phenomenal skills as both songwriter and producer, failed to receive the success deserved. Leaving the major label world behind in 1970 and emerging as Swamp Dogg, Williams began using his material as a vehicle for both serious and satirical examination of strong social, economical and political issues. Widely recognized as one of the great cult figures of 20th century music in the 70s and he's still going strong! So, ominous title aside, have a happy holiday y'all.


Jerry Williams Jr. was born in Portsmouth, Virginia. He made his first recording, "HTD Blues (Heartsick Troublesome Downout Blues)", for the Mechanic record label in 1954, when he was just age 12. In 1960 he began recording as Little Jerry, releasing three 45s in the following three years, each on different labels. As Little Jerry Williams he began hitting stride with self-penned "I'm The Lover Man" in 1964, which was first issued on the Southern Sound label and was then picked up by the larger Loma label. He began writing for other artists as well, including "Big Party" for Barbara & The Browns. His two follow-up 45s were a little lacking, however, late in 1965 "Baby You're My Everything", which he co-wrote and produced, was released on the Calla label and rose to #32 on the R&B chart early 1966. Credited simply as Jerry Williams, he released several more singles on Calla through to 1967 but with little commercial success, although some of his records such as "If You Ask Me (Because I Love You)" later became staples of the Northern Soul movement in the UK. By late 1967 he started working in A&R and other duties for the Musicor label in New York and also recorded a single, "I Got What It Takes", as a duo with Brooks O'Dell. In 1968 he co-wrote, with Charlie Foxx, Gene Pitney's up-tempo hit, "She's A Heartbreaker". Later in 1968 Williams began working as a producer at Atlantic Records with Jerry Wexler and Phil Walden. He also established a songwriting partnership with Gary Anderson, who performed as Gary U.S. Bonds, and the pair wrote the R&B chart hits "To The Other Woman (I'm The Other Woman)" by Doris Duke, and "She Didn't Know (She Kept On Talking)" by Dee Dee Warwick. They co-wrote the majority of Duke's revered "I'm A Loser" album in 1969, while Williams produced. Widely regarded as one of the greatest deep soul records of our time. 1969 also saw the two final 45s issued under Williams' real name, both for Cotillion records. In 1970 he emerged in his new Swamp Dogg persona, with two singles on the Canyon label, "Mama's Baby, Daddy's Maybe", again co-written with Bonds, and "Synthetic World". He also wrote and produced recordings for both Bette Williams and Sandra Phillips, as well as the first Swamp Dogg album, Total Destruction To Your Mind. The album sleeve showed Williams sitting in his underwear on a pile of garbage. Williams' new direction apparently followed an LSD trip, and was inspired by the radical politics of the time and by Frank Zappa's use of satire, while showing his own expertise in, and commitment to deep soul and R&B music. According to Allmusic: "In sheer musical terms, Swamp Dogg is pure Southern soul, anchored on tight grooves and accentuated by horns, but the Dogg is as much about message as music..." Although not a commercial success at the time, Swamp Dogg started to develop a cult following and eventually the album sold enough to achieve gold record status. Around the same time, one of the songs Williams had co-written with Gary Bonds, "She's All I Got", became a top-ten R&B hit for Freddie North, and was recorded with even greater success by country star Johnny Paycheck, whose version reached #2 on the country music chart in late 1971. In a later interview on NPR's Studio 360, Williams stated he was raised on country music: "Black music didn't start 'til 10 at night until 4 in the morning and I was in bed by then... If you strip my tracks, take away all the horns and guitar licks, what you have is a country song." However, he also continued to write and produce deep soul songs for other musicians, including Z. Z. Hill and Irma Thomas. In 1971 in collaboration with co-producer and writer the legendary George Semper he released "Monster Walk Pt. 1 and 2" by the Rhythm 'N' Blues Classical Funk Band on Mankind Records label. Produced for Jerry Williams Productions, Inc.and in spite of modest sales the record once again demonstrated his entrepreneurial skill as an artist. As Swamp Dogg, he was signed by Elektra Records for his second album, Rat On! in 1971. The sleeve showed him on the back of a giant white rat, and has frequently been ranked as one of the worst album covers of all time. Sales were relatively poor, and his next albums Cuffed, Collared & Tagged (1972) and Gag A Maggott (recorded at the TK Studio in 1973) were released on smaller labels. Williams/Dogg then co-wrote and produced an album with Charlie Whitehead, issued on the Fungus label. is 1974 album, Have You Heard This Story??, was issued by Island Records but had little success. His self-released follow-up, oddly titled "Greatest Hits", in fact featured new(ish) original material but again, failed to have an impact. In 1977 he had minor R&B hit with "My Heart Just Can't Stop Dancing", credited to Swamp Dogg & The Riders Of The New Funk. He continued to release albums through the remainder of the decade, and into the mid-80s on various small independent labels and in a variety of styles including disco and country, while maintaining a healthy cult following. In the late 80s he also set up his own publishing and recording company, Swamp Dogg Entertainment Group (SDEG) and released the album "I Called For A Rope And They Threw Me A Rock". Followed up by "Surfin' In Harlem" (1991) for Volt Records and "Ted & Venus (Original Motion Picture Soundtrack)" in 1992. In 1999, "Slow Slow Disco" was sampled by Kid Rock on the track "I Got One For Ya", sparking a revival of interest in Swamp Dogg, who began performing live gigs for the first time in nearly a decade. Three Albums were recorded and released between 2000-07 and in 2009 the Dogg released two new albums back to back -- "Give Em As Little As You Can...As Often As You Have To...Or...A Tribute To Rock N Roll" and "An Awful Christmas & A Lousy New Year" -- and also released some further singles. Most of his early Swamp Dogg albums were also re-issued on CD. Swamp Dogg released a full-length album of new songs in 2014, The White Man Made Me Do It, which Williams described as being a sort of sequel to Total Destruction To Your Mind. Shortly thereafter, Swamp Dogg teamed up with Ryan Olson from Poliça to produce the tracks for his 2018 album Love, Loss & Autotune, with Justin Vernon (aka Bon Iver) fine-tuning the vocal tracks. The songs also feature instrumentation by Guitar Shorty. New recordings are in the works and I wait with wonderment for whatever this 65-year career, seasoned veteran has in store.

God Ain't Blessing America is the complete 1970-83 Swamp Dogg album pack. Fourteen LPs, including the album with Charlie Whitehead and a split album with daughter, Michelle Williams. As per usual, I've included a make-shift folder collecting singles, rarities and unissued recordings, which contains the shelved country album recorded for Mercury Records late 70s or early 80s. And in an entirely other zip file, we have I'm The Lover Man ... the complete Jerry Williams Jr recordings (1954-69). All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 23 December 2019

GGG Presents Goodie Grab Bags Volume 40



Deanie Parker - Discography 1963-6? [8sides]

01. Deanie Parker & The Valadors - 1963 - My Imaginary Guy (Volt 105)
02. Deanie Parker & The Valadors - 1963 - Until You Return (Volt 105)
03. Deanie Parker - 1964 - Each Step I Take (Volt 115)
04. Deanie Parker - 1964 - Mary Lou Can You Do The Bumble Bee (Volt 115)
05. Deanie Parker - 196? - Ask Him (Unissued Stax-Volt)
06. Deanie Parker - 196? - Just One Touch (Unissued Stax-Volt)
07. Deanie Parker - 196? - How About You (Unissued Stax-Volt)
08. Deanie Parker - 196? - Heartbreaker (Unissued Stax-Volt)


Janet & The Jays - Discography 1965-67 [5of6sides]

01. Janet & The Jays - 1965 - When You Lose (Hermitage 825)
02. Janet & The Jays - 1965 - Lost My Best Lover (Hermitage 825)
03. Janit & The Jays - 1966 - Without A Reason (Hi 2109)
04. Janit & The Jays - 1966 - Hurting Over You Boy (Hi 2109)
05. Janet & The Jays - 1967 - Love What You're Doing To Me (Hi 2129)
06. Janet & The Jays - 1967 - Pleading For Your Love (Hi 2129)


The Naturelles - Discography 1968-69 [3sides]

01. The Naturelles - 1968 - Show Me The Way (Venture 609) (Venture 633)
02. The Naturelles - 1968 - Love Has Joined Us Together (Venture 609)
03. The Naturelles - 1969 - So Much In Need (Venture 633)


Wanda Davis - Discography 1970-7? [3sides]

01. Wanda Davis - 1970 - Save Me (Project Soul 001)
02. Wanda Davis - 1970 - Take Care (Project Soul 001)
03. Wanda Davis - 197? - Where Did You Sleep Last Night (Unissued)


Nancy Butts - Discography 1968-73 [12sides]

01. Nancy Butts - 1968 - I Want To Hold Your Hand (Flaming Arrow C-19)
02. Nancy Butts - 1968 - Your Friend Will Take The Man You Love (Flaming Arrow C-19)
03. Nancy Butts - 1969 - Go On To Her (Flaming Arrow 38)
04. Nancy Butts - 1969 - You're Gonna Need Somebody (Flaming Arrow 38)
05. Nancy Butts - 1969 - Let Me Be Free (Flaming Arrow 39)
06. Nancy Butts - 1969 - Please Please Tell Me Baby (Flaming Arrow 39)
07. Nancy Butts - 1971 - Only One Love (King 6405)
08. Nancy Butts - 1971 - Letter Full Of Tears (King 6405)
09. Nancy Butts - 1972 - I Can't Love But One Man At A Time (Jar-Val 14)
10. Nancy Butts - 1972 - Too Many Yesterdays (Jar-Val 14)
11. Nancy Butts - 1973 - I've Been Blind Too Long (Jar-Val 17)
12. Nancy Butts - 1973 - I've Been Blind Too Long [inst] (Jar-Val 17)


GGB40

Friday, 20 December 2019

Price Of Love

Let's take a look at one of Chi-Town's finest today. Although they went through lead vocalists at an astonishing rate, The Artistics maintained a remarkably consistent level of quality with their recordings. Doling out 5 full-length albums and 18 singles over the course of a decade.


The Artistics formed in 1958 at Marshall High School in Chicago, Illinois with a line-up of Curt Thomas (lead), Larry Johnson (first tenor), Jesse Bolian (second tenor) and Aaron Floyd (baritone bass). In 1960 Thomas left and was replaced by lead singer Robert Dobyne. The group performed at the 1960 Democratic National Convention, and began singing backup for Major Lance, including on his record "Monkey Time". Record producer Carl Davis signed the group to OKeh Records in 1963, but their early records were not successful. Dobyne left in 1964, later writing for The Temptations and recording for Motown though his recordings were not released at the time. Lead singer duties for The Artistics were taken over first by Charles Davis, previously of The Dukays, and then by Marvin Smith, previously of The El Dorados. They had their first local hit with "Get My Hands On Some Lovin'", co-written and first recorded by Marvin Gaye, and followed it up with the more successful "This Heart of Mine", written by Barrett Strong. The single reached no. 25 on the Billboard R&B chart following its release in late 1965. Their next two singles for OKeh were unsuccessful, and they moved to Brunswick Records where Carl Davis had become A&R Director. Their first record on the label was "I'm Gonna Miss You", written by Smith, Bolian and Johnson of the group and produced by Davis, which rose to no. 9 on the R&B chart and no. 55 on the pop chart at the end of 1966. Marvin Smith left the group for a solo career before the record made the charts, and was replaced by Tommy Green. Smith continued to collaborate on writing material, and sang on some of the group's records until 1970. The group's next single, "Girl I Need You", with Green on lead vocal, was also a minor hit, and the group recorded an LP, I'm Gonna Miss You. Several further singles on Brunswick were less successful, but they recorded two further albums, The Articulate Artistics (1968) and What Happened (1969), produced by Carl Davis with Eugene Record who also wrote some of their material. The albums are now regarded as high points of Chicago R&B recordings of the period and their tracks are highly regarded by fans of Northern Soul. The group's last chart record was "Make My Life Over" in 1971, with Fred Pettis replacing Green on lead vocal. The group left Brunswick in 1973 and split up soon afterwards. Smith briefly reformed the group in 1999, to undertake some recordings for Ian Levine's Motorcity Records.

Price Of Love is the full Artistics package. The five Brunswick LPs and the complete singles collection. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 16 December 2019

GGG Presents O-O-O-O-Oh Yeah!!! Vol. 20

This isn't the final installment of the 'O-O-O-O-Oh Yeah!!!' series but I will be putting a plug in it for now. I plan on picking it back up at some point in the new year but would also like to explore some other themes and directions with future compilations in the meantime. Enjoy.


01. Marie Adams - 196? - You Don't Know (Encore Artists 300a)
02. Marie Adams - 196? - That's The Way To Get Along (Encore Artists 300b)
03. The Oasis - 1969 - Come On Home (Authentic 412a)
04. The Oasis - 1969 - Willie Mae (What Kinda Girl Are You) (Authentic 412b)
05. Soul Angels [aka The Bobbettes] - 1969 - It's All In Your Mind (Josie 1002a)
06. Soul Angels [aka The Bobbettes] - 1969 - The Ladies Choice (Josie 1002b)
07. The French Connection - 19?? - Monte Carlo (Famous 711Fa)
08. The French Connection - 19?? - Penguin Talk (Famous 711Fb)
09. Young Ladies - 1970 - He's Gone To Another (Stang 5010a)
10. Young Ladies - 1970 - I'm Tired Of Running Around (Stang 5010b)
11. Gene Graham - 1970  - My Goodness Baby (Checker 1230a)
12. Gene Graham - 1970  - You Can't Change Me (Checker 1230b)
13. Eugene Gaspard - 197? - Holding On ( Rosemont 4236a)
14. Eugene Gaspard - 197? - On And On ( Rosemont 4236b)
15. Jo Jo & The Outcast - 1972 - A Whole Lot Of Woman (Sound-O-Riffic 926a)
16. Jo Jo & The Outcast - 1972 - Why Baby (Sound-O-Riffic 926b)
17. Brenda Devlin - 1973 - Were You Ever Lonely (Road 109a)
18. Brenda Devlin - 1973 - I Love You More Than Anything (Road 109b)
19. Roy Gee & The Hitmakers - 1975 - Git Up, Release Yourself (Hitmaker 500a)
20. Roy Gee & The Hitmakers - 1975 - I Can't Do It All By Myself (Hitmaker 500b)
21. E. Jackie Hines - 1976 - I'm Not The Fool (JBE 101a)
22. E. Jackie Hines - 1976 - I'm So Glad (JBE 101b)
23. Ben Wiggins - 1976 - It's All Over (Almeria 4003a)
24. Ben Wiggins - 1976 - I Love You Too Much (Almeria 4003b)
25. Lorraine Rudolph - 1975 - Keep Coming Back For More (Jet Stream 817a)
26. Lorraine Rudolph - 1975 - After All I've Been Through (Jet Stream 817b)


OY!20

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. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to hwolf, imnokid 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 [12sides]

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)
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 [18sides]

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

Friday, 8 November 2019

What Is This

One of personal fav's today, and quite possibly the most prolific 'Bobby' of soul music. From gospel, to doo-wop, from rhythm and blues to soul, from funk to disco... the mighty Bobby Womack continued to keep listeners captivated. From under the wing of the legendary Sam Cooke, Womack went on to become one of the great innovators of soul music and enjoyed a career spanning just over sixty years.


Robert Dwayne Womack was born in Cleveland's Fairfax neighborhood, near East 85th Street and Quincy Avenue, to Naomi Womack and Friendly Womack, Bobby was the third of five brothers. Friendly Jr. and Curtis were the older brothers, Harry and Cecil were his younger brothers. They all grew up in the Cleveland slums, so poor that the family would fish pig snouts out of the local supermarket's trash. He had to share a bed with his brothers. Raised Baptist, their mother played the organ for the church choir, and their father was a steelworker, part-time minister, and musician who played the guitar and also sang gospel. Their father repeatedly ordered his sons to not touch his guitar while he was away, yet all five brothers regularly played it while their father was at work. One night, eight-year-old Bobby broke a guitar string, then tried to replace the string with a shoelace. After Friendly deduced that Bobby (who was missing a shoelace) had broken the string, he offered Bobby the chance to play the guitar for him in lieu of a whipping. "Man, I played Andres Segovia, Elmore James and BB King. Even with one string short, I played classical music, soul, country and western, and rock'n'roll. I played my ass off. Every lick I knew and then some I didn't. When I finished, Dad was in shock. He couldn't believe how good I had got and he'd been real selfish holding on to that guitar for himself." Soon afterwards, Friendly bought guitars for all five of his sons. Because Bobby was left-handed, he flipped his guitar upside-down to play, not knowing that the guitar could have been restrung to accommodate a left-handed player. By the mid 50s 10-year-old Bobby was touring with his brothers on the midwest gospel circuit as The Womack Brothers, along with Naomi on organ and Friendly Sr. on guitar. In 1954, under the moniker Curtis Womack and the Womack Brothers, the group issued the Pennant single, "Buffalo Bill". More records followed. Sam Cooke, the lead singer of The Soul Stirrers, first saw the group performing in the mid 50s. He became their mentor and helped them go on tour. They went on national tours with The Staple Singers. Even though Curtis often sang lead, Bobby was allowed to sing alongside him showcasing his gruff baritone vocals in contrast to his older brother's smoother tenor. During performances, Bobby would sometimes imitate the role of a preacher, which later became his nickname. At just 16, Bobby dropped out of high school. At the beginning of the 60s, Cooke formed SAR Records and signed the quintet to the label in 1961, where they released a handful of gospel singles. Then, Cooke changed their name to the Valentinos, relocated them to Los Angeles and convinced them to transition from gospel music to secular soul-and pop-influenced sound. Cooke produced and arranged the group's first hit single, "Lookin' For A Love", which was a pop version of the gospel song, "Couldn't Hear Nobody Pray", they had recorded earlier. The song became an R&B hit and helped land the group an opening spot for James Brown's tour. The group's next hit came in 1964 with the country-tinged "It's All Over Now", co-composed by Bobby. Their version was rising on the charts when The Rolling Stones covered it. Womack was also a member of Cooke's band, touring and recording with him from 1961. The Valentinos' career was left shaky after Sam Cooke was shot and killed in a Los Angeles motel. Devastated by the news, the brothers disbanded and SAR Records folded. Womack continued to work as a session musician. Between 1965 and 1968, he toured and recorded with Ray Charles. Circa 1965, Womack relocated to Memphis where he worked at Chips Moman's American Studios. He played guitar on recordings by Joe Tex and the Box Tops. Womack played guitar on several of Aretha Franklin's albums, including Lady Soul, but not on the hit song "Chain Of Fools", as erroneously reported. His work as a songwriter caught the eye of music executives after Wilson Pickett took a liking to some of Womack's songs and insisted on recording them. Among the songs were "I'm A Midnight Mover" and "I'm In Love". In 1968, Bobby signed with Minit Records and recorded his first solo album, Fly Me To The Moon, where he scored his first major hit with a cover of The Mamas & The Papas' "California Dreamin". In 1969, Womack forged a partnership with Gábor Szabó and with Szabó, penned the instrumental "Breezin'", later a hit for George Benson. Womack also worked with rock musicians Sly & The Family Stone and Janis Joplin, contributing vocals and guitar work on the Family Stone's accomplished album There's A Riot Goin' On, and penning the ballad "Trust Me", for Joplin on her album Pearl. In fact, Womack was one of the last people to see Joplin alive, having visited her hours before she died at the Landmark Hotel in Los Angeles, California. After two more albums with Minit, Bobby switched labels, signing with United Artists where he changed his attire and his musical direction with the album Communication. The album bolstered his first top 40 hit, "That's The Way I Feel About Cha", which peaked at number two R&B and number 27 on the Billboard Hot 100 in the spring of 1972. Following Communication, Womack's profile was raised with two more albums, released in 1972. The first was Understanding, noted for the track "I Can Understand It", later covered by the funk band New Birth and a three-sibling lineup of Bobby's old group, the Valentinos, and two hit singles, "Woman's Gotta Have It" and "Harry Hippie". The latter song was written for Womack by Jim Ford in a country version, which Womack re-arranged in an R&B version. "Harry Hippie" later became Womack's first single to be certified gold. "Woman's Gotta Have It" became Womack's first single to hit number one on the R&B charts. Another hit album released after Understanding was the soundtrack to the blaxploitation film Across 110th Street. The title track became popular during its initial 1972 release and later would be played during the opening and closing scenes of the 1997 film, Jackie Brown. In 1973, Womack released another hit album, Facts of Life, and had a Top 40 hit with "Nobody Knows You When You're Down And Out," an older song Sam Cooke had done years before. In 1974, Womack released his most successful single during this period with a remake of his first hit single, "Lookin' For A Love". His solo version of the song became even more successful than the original with the Valentinos, becoming his second number one hit on the R&B chart and peaking at number ten on the Billboard Hot 100, becoming his only hit to reach that high on the pop chart. The song was featured on the album Lookin' For A Love Again and featured the minor charted "You're Welcome, Stop On By", later covered by Rufus & Chaka Khan. Womack's career began stalling after Womack received the news of his brother Harry's death. Womack continued to record albums with United Artists through 1975 and 1976 but with less success than previous albums. In 1975, Womack collaborated with Rolling Stones member Ronnie Wood, on Wood's second solo album, Now Look. Womack languished with his own recordings during the late 70s but continued to be a frequent collaborator with other artists, most notably Wilton Felder of the Crusaders. In 1980, Wilton Felder released on MCA Records, the album Inherit The Wind, featuring Bobby Womack, that became a jazz-funk classic, notably in the UK. In 1981, Womack signed with Beverly Glen Records and had his first R&B top 10 single in five years. His accompanying album The Poet reached number one on the R&B album charts and is now seen as the high point of his long career, bringing him wider acclaim not only in the U.S. but also in Europe. He had two more R&B top 10 singles during the 80s including the Patti LaBelle duet, "Love Has Finally Come at Last", and "I Wish He Didn't Trust Me So Much". He had a hit featuring on the Wilton Felder single "(No Matter How High I Get) I'll Still Be Looking Up To You". Womack's solo career started to slow down after 1985, in part due to Womack's issues with drug addiction. In 1986, The Manhattans released the album Back To Basics, which contained songs written and produced by Womack. Womack contributed vocals and acoustic guitar to the songs "Where Did We Go Wrong" (duet with Regina Belle), "I'm Through Trying To Prove My Love To You", "Mr D.J." and "Back Into The Night". In 1989, Womack sang on Todd Rundgren's "For The Want Of A Nail" on the album Nearly Human. After sobering up in the mid 90s, he released his twentieth studio album, Resurrection on his close friend's Ronnie Wood's label. The album included session background work from admiring associates that included Rod Stewart, Ronald Isley, Keith Richards and Charlie Watts. His remaining brothers from the Valentinos, Curtis, Friendly and Cecil, featured as background singers. Two singles from the album —a duet with Ronald Isley, "Tryin' Not To Break Down", and "Forever Love"— appeared on the Billboard R&B chart, but although the album contained two of Womack's best latter songs, "Cousin Henry" and "Don't Break Your Promise (Too Soon)", the album received a mixed critical reception. A gospel album, Back to My Roots, appeared at the end of the decade, but Womack largely concentrated on session and guest work for the next ten years. In 2009, Calvin Richardson was chosen to record a tribute album to Womack to coincide with Womack's induction into the Rock and Roll Hall of Fame. The Grammy-nominated album was entitled Facts of Life: The Soul of Bobby Womack. It reached No. 30 on the US R&B chart. A new album was released on June 12, 2012 by XL Recordings of London. The album, The Bravest Man In The Universe was produced by Damon Albarn and Richard Russell. Womack developed diabetes in his later years. It was revealed in March 2012 that Womack was diagnosed with colon cancer after Bootsy Collins reported it on his Facebook page. Womack announced afterwards that he was to undergo cancer surgery. On May 24, 2012, it was announced that Womack's surgery to remove a tumor from his colon was successful and he was declared cancer free. On January 1, 2013, Womack admitted that he struggled to remember his songs and other people's names, and later he was diagnosed with early stages of Alzheimer's disease. Womack died at his home in Tarzana, California at the age of 70 on June 27, 2014.

What Is This is a whopper ...  and includes the complete Bobby Womack recordings between 1961 and 1985. Seventeen LPs and a collection of 45s that includes the the near-complete recordings of The Valentinos and over a dozen unissued cuts. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing:
The Valentinos - 1973 - Oh, How I Miss You Babe (Clean 60007)

Monday, 4 November 2019

GGG Presents Deep Dish Delicacies Vol. 27



01. Billy Wade - 1968 - You've Got To Do Something For Yourself (ABC 11119)
02. Marvin Preyer - 1968 - Don't Stop Loving Me This Time (Wand 1181)
03. Thelma Jones - 1966 - Never Leave Me (Barry 1010)
04. George Jackson - 1966 - That Lonely Night (Double R 248) (Cameo 460)
05. Danny White - 1965 - Note On The Table (Frisco 114)
06. Bobby Bland - 1966 - Deep In My Soul (Duke DLP 79)
07. Otis Redding - 1965 - A Woman, A Lover, A Friend (Volt SD 411)
08. The Fabulous Denos - 1965 - Hard To Hold Back Tears (King 5971)
09. The Royal Five - 196? - Gonna Keep Lovin' You (Tyler 200)
10. Camille La Vah - 1964 - Let's Steal Away (Wax W-18)
11. Wallace Brothers - 1964 - Precious Words (Sims 174)
12. Vernon Guy w. The Ikettes - 1964 - Your Precious Love (Unissued Outtake)
13. Willie West - 1963 - Lost Love (Frisco 107)
14. Inez & Charlie Foxx - 1963 - The Ball Game (Symbol LP SYM 4400)
15. Mr. Tears - 1963 - Excuse Me Baby (4-J 509)
16. Sherman Evans - 1962 - There's Gonna Be Some Crying (Manco 1036)
17. Ohio Untouchables - 1962 - I'm Tired (Lu Pine 1017)
18. Little Herbert & The Arabians - 1961 - Condition Your Heart (Teek 4824-2)
19. Timmy Shaw - 1961 - Throw It Out Of Your Mind (Reel 102) (Jamie 1204)
20. Wally Cox - 1960 - I Can't Help It (Arvee 5008)
21. The Four Kings - 1960 - Walking Alone (Stomper Time 1163)
22. Barbara Stephens - 1961 - The Life I Live (Satellite 111) (Stax 113)
23. Curtis Blandon - 1963 - Soul (Port 70035)
24. Johnny Wilson - 1963 - Sometime, Someplace, Somewhere (Arnold 1009)
25. Little Joe Steele - 1964 - So Long (ABC-Paramount 10577)


DDD27

Friday, 1 November 2019

Then You'll Know

There's five Friday's this month, that doesn't happen all that often. I'm gonna celebrate it by getting a little freaky with one of 'em. Just not this one however. I've had a previous notion for November and focused my preparation efforts towards it, so without further ado ...
Happy Bo-vember, a month of Bobby's !!!

I doubt the first sentence young Bobby Patterson strung together was "Everything I do gonh be Funky" ... but then again .... be it straight laced rhythm n blues or the deep southern soul senders, everything Patterson cut had this strong-rooted undercurrent of funk at its core. Like many other Dallas-based musicians, Bobby Patterson is a vocalist and multi-instrumentalist who continued the deep soul tradition of people like Otis Redding, Joe Tex, and Wilson Pickett. But unlike some of these other singers, Patterson has worked in all aspects of the record business: as a songwriter, producer, promotion man, label owner and radio show host.


Robert Carl Patterson began performing when he was ten, playing guitar and drums. While still in his early teens, he formed a band called the Royal Rockers, who won talent contests in and around Dallas. In 1957, one of the talent contests led to a trip to California to track a single for Liberty Records, which was never released. Patterson then went on to nearby Arlington College, where one of his classmates was the son of a local record company owner. John Abdnor Jr., aka Jon Abnor also of Jon And Robin fame, whose father, John Sr., formed both the Abnak and Jetstar labels. In 1962, Patterson recorded for Abnak Records, the following year two singles saw release as by Robert Patterson And His Combo. The singles weren't terribly successful, but it convinced the label's owner, John Abnak, to start a soul division, called Jetstar Records. Patterson recorded for Jetstar for the next six years, becoming a talented songwriter, producer, and promotion man in the process. Patterson's regional hits, all self-penned, on the Jetstar label included "Let Them Talk" (also popularized by Little Willie John), "I'm Leroy, I'll Take Her" (an answer song to Joe Tex's "Skinny Legs and All"), "Broadway Ain't Funky No More," "T.C.B. or T.Y.A.," "My Thing Is Your Thing," "The Good Old Days," and "I'm In Love With You." In 1969, after a string of regional hits, Abnak Records folded and Patterson recorded his own self-produced album released on Paula Records. Shortly after that, he quit recording under his own name to produce and promote records for other artists. As a producer, Patterson worked with Fontella Bass, Chuck Jackson, Ted Taylor, Shay Holiday, Roscoe Robinson, the Montclairs, Tommie Young, and Little Johnny Taylor. Patterson's songs have been recorded by Albert King ("That's What the Blues Is All About") and the Fabulous Thunderbirds, who scored a hit with his "How Do You Spell Love?" In the late 70s a couple singles surfaced care of All Platinum and Proud Records, then in 1982 Patterson recorded at Malaco studios. The result was another self penned and produced stunner, The Storyteller LP as by Bobby Story. Over a decade later Wilco's Jeff Tweedy gave Patterson's visibility a boost, recording his song "She Don't Have To See You (To See Through You)," on Down By The Old Mainstream, an album from his side project Golden Smog. A year later, Patterson hit the comeback trail as an artist, recording and releasing an album, Second Coming, for the soul revivalist label Ichiban. A second new album, I'd Rather Eat Soup, was released by Big Bidness Records in 1998, and while both new albums showed Patterson's voice and songwriting chops were in fine shape, they didn't do much business. But after appearances at several blues festivals and the annual vintage R&B and rock showcase the Ponderosa Stomp and his work on the Dallas-based radio station KKDA 730 AM, Patterson's cult following grew, and in 2013 he teamed with producer Zach Ernst to cut a new album in the vintage soul style. In 2014, Patterson and Ernst struck a deal with Omnivore Recordings to release the album, I Got More Soul! arrived in July 2014. 

Then You'll Know is the near entirety of Patterson's output between 1966 and 1983. I can't find any side off the pre-dating singles as Robert Patterson & His Combo nor a side from the final entry in this collection. However, everything in between is here, including well over a dozen unissued cuts. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing:
Bobby Patterson - 1983 - Groove Me [short] (Malaco 1210)

Monday, 28 October 2019

GGG Presents Goodie Grab Bags Volume 36



Al Gardner - Discography 1961-68 [8sides]

01. Al Garner - 1961 - I'll Get Along Without You (Lupine 121)
02. Al Garner - 1961 - All I Need Is You (Lupine 121)
03. Al Gardner - 1964 - I'm Moving On (Groovesville 777)
04. Al Gardner - 1964 - I'll Get Along (Groovesville 777)
05. Al Gardner - 1968 - Sweet Baby (Sepia 02)
06. Al Gardner - 1968 - I Can't Stand It (Sepia 02)
07. Al Gardner - 1968 - Just A Touch Of Your Hand (Sir-Rah 504)
08. Al Gardner - 1968 - Watch Yourself (Sir-Rah 504)


The Experts - Discography 1967-69 [4sides]

01. The Experts - 1967 - (Shing-A-Loo-Boog-A-Ling) Big Mama (Tag Ltd. 101)
02. The Experts - 1967 - My Love Is Real (Tag Ltd. 101)
03. The Experts - 1969 - You're Bein' Brainwashed Baby (Metromedia 116)
04. The Experts - 1969 - Wake Me When It's Over (Metromedia 116)


Betty Johnson & Charles Warren - Discography 1969-7? [13sides]

01. Betty & Charles - 1969 - Someone For Everyone (Capitol 2413)
02. Betty & Charles - 1969 - That's Why I Call You Mine (Capitol 2413)
03. Betty & Charles - 1970 - Somebody's Foolin' (Where We Been Roostin') (Crazy Horse 1321)
04. Betty & Charles - 1970 - Can't Find Love (Crazy Horse 1321)
05. Betty Johnson - 19?? - Sunshine Man (Unissued)
06. Betty Johnson - 19?? - No Good Man (Unissued)
07. Betty Johnson - 19?? - Soul Girl (Unissued)
08. Betty Johnson - 19?? - Never Too Busy (Unissued)
09. Charles Warren - 19?? - Soul Chant (Unissued)
10. Charles Warren - 19?? - I'm Praying (Unissued)
11. Betty & Charles - 19?? - Loving And Kind (Unissued)
12. Betty & Charles - 19?? - As Long As We Believe In Each Other (Unissued)
13. Betty & Charles - 19?? - It's All Over (Unissued)


McKinley Travis - Discography 1970-71 [5sides]

01. McKinley Travis - 1970 - Baby, Is There Something On Your Mind (Soultown 109)
02. McKinley Travis - 1970 - You've Got It And I Want It (Soultown 109)
03. McKinley Travis - 1970 - Get Yourself Together (Soultown 11) (Marina 602)
04. McKinley Travis - 1970 - Why Do You Have To Go (Cause I Love You) (Soultown 11)
05. McKinley Travis - 1971 - Need Your Love (Soultown 13) (Marina 602) +


GGB36

Friday, 25 October 2019

Value Your Love

If Miami were a kingdom then Betty Wright would be it's true and rightful Queen. A brilliantly gifted young girl, wise beyond her years, with an incredible vocal range and all sorts of southern swagger. From waxing superb deep soul before she was even a teenager, to topping the R&B/Billboard charts at the tender age of 17, Wright went on to be a definitive and pinnacle figure in the emerging 70s southern soul scene and enjoyed a lasting career well beyond the era.


Born in Miami, Florida as Bessie Regina Norris on December 21, 1953, Wright was the youngest of seven children of Rosa Akins Braddy-Wright and her second husband, McArthur Norris. Wright began her professional career at the age of two when her siblings formed the gospel group, the Echoes of Joy. Wright contributed to vocals on the group's first album, released in 1956. Wright and her siblings performed together until the mid 60s. In 1965, following the group's break-up, 11-year-old Wright, who was already using the name Betty Wright, decided to switch musical styles from gospel to rhythm and blues, singing in local talent shows until being spotted by a local Miami record label owner, who signed her to her first label in 1966 at age twelve. She released the singles, "Thank You Baby" and "Paralyzed", which found Wright local fame in Miami. In 1967, the teen was responsible for discovering other local talents such as George and Gwen McCrae, helping them sign with the Alston Records label, part of Henry Stone's TK recording and distribution company. My First Time Around, her first album, was released when she was still 14. Her first hit single was "Girls Can't Do What the Guys Do". While still in high school in 1970, Wright released "Pure Love" at the age of sixteen. About a year later, Wright released her signature song, "Clean Up Woman", written by Clarence Reid and Willie Clarke when she was 17. The record reached number two on the R&B charts, where it stayed for eight weeks. It crossed over to the pop charts, peaking at number six and staying on the Billboard Hot 100 for 14 weeks. It eventually sold over a million copies and was certified gold on December 30, 1971, nine days after the singer turned 18. Wright struggled with a successful follow-up until 1972 when the single "Baby Sitter" (one of Wright's first compositions) reached the top 50 of the Hot 100 and peaked at number six on the R&B charts. Another hit that emerged during this early period was 1973's "Let Me Be Your Lovemaker", which peaked at number 55 on the Hot 100 and number 10 on the R&B chart, it was also the first instance (after "Baby Sitter") where Wright showed off her powerful whistle register vocals. Another successful composition was the proto-disco number, "Where Is the Love" (co-written by Wright, with producers, Harry Wayne Casey and Richard Finch, from KC & The Sunshine Band). This peaked at number 15 on the R&B chart, number-two on the dance charts and crossed over to the UK, peaking at #25, leading Wright to perform overseas. Wright later won the Best R&B Song Grammy Award for composing "Where Is the Love". A second prominent overseas hit was another proto-disco number, "Shoorah! Shoorah!", issued on Alston and written by Allen Toussaint. Both songs appeared on one of Wright's most popular albums, Danger! High Voltage!, released in late 1974. It would be on this album that Wright would have her most successful composition, with the smooth soul ballad, "Tonight Is the Night", which Wright attributed to her first sexual experiences. The original version peaked at number 28 on the R&B chart. Four years later, Wright released a "live" version of the song. The remodeled version, which included a now-famous monologue and portions of Wright's 1970 hit, "Pure Love", peaked at number 11 on the R&B chart in 1978. In 1977 Wright discovered musician Peter Brown and sang background on Brown's hits, "You Should Do It" and "Dance With Me" (where her vocals were prominently featured alongside Brown's) from the successful LP 'Fantasy Love Affair. In 1978, she performed a duet with shock rocker Alice Cooper on the song "No Tricks" and a year later, opened for Bob Marley on the reggae star's Survival Tour. Wright's other albums at the end of the 1970s were less successful and by 1981, as TK began to struggle, she moved on to a bigger label, signing with Epic where her self-titled album was released. The album was notable for the minor Stevie Wonder-composed hit, "What Are You Gonna Do With It". That same year, she contributed vocals on Richard "Dimples" Fields' Dimples album, especially on the hit, "She's Got Papers on Me". In 1983, she released the album Wright Back at You, which featured compositions by Marlon Jackson of the Jackson Five. In 1985, Wright formed her own label, Miss B Records, issuing the album, Sevens the following year. In 1988, Wright made history as the first black female artist to score a gold album on her own label, when her 1987 album, Mother Wit achieved that certification. The album was notable for the come-back hits "No Pain, No Gain," which returned her to the top 20 on the R&B chart for the first time in a decade, and "After the Pain". In 1990, she had a hit duet with Grayson Hugh on the remake of Champaign's 1981 hit, "How 'Bout Us", and later arranged the harmonies for Gloria Estefan's "Coming Out of the Dark", which hit number 1 in 1991. Continuing to release solo material into the 1990s, her 1994 album B-Attitudes featured a remixed duet of Marvin Gaye's "Distant Lover". Since then, she has self-released several more recordings while still performing successfully as a live act.

Value Your Love is hardly the lot! As per usual my interest and (therefore) collection wanes towards the late 70s. Here we've got the seven studio albums, the Live LP and an accompanying collection of non-album sides released between 1967 and 1979. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.