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.

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.

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)


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)


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, 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)


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.

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)


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.

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