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- Elgin said:
Thanks for the beautiful album and keeping this music alive.
4 seconds ago
- Mick said:
this one is fantastic !
10 hours 36 minutes ago
- Art said:
Wow! Stumbled upon your blog lookin’ for Otis Clay…Saw these cats in high school here in...
11 hours 14 minutes ago
- Kevinj said:
I’m really enjoying that Hang Together tune. Thanks for sharing.
1 day 1 hour ago
- Gordon said:
I used to play all of the Three Sounds music on the radio back in the DAY!.
1 day 10 hours ago
- Neil said:
Funky & Jazzy
1 day 10 hours ago
- Theodore said:
Really enjoyed this – thank you!
2 days 7 hours ago
- Elgin said:
visitors, since 2 May 2008
Visitors without country stamp, are not be counted.
A key meeting between the Three Sounds trio and the amazing Monk Higgins – done at a time when Higgins was taking his Chicago-crafted grooves to work on the west coast – and doing some really wonderful productions with Dee Ervin! The set features full Higgins backings throughout – a mix of jazz and strings that takes the usual Gene Harris sound into territory that you’d be much more likely to hear on Cadet Records back in Chi-town – a very hip, very soulful style that’s totally great throughout, and a much-needed break from the straighter piano trio sound of other 60s albums the group did on Blue Note. Some tracks are laidback, but others are hard and funky – the kind of sock-solid cuts that have made the album a favorite with sample heads and soul dancers over the years – much heavier keyboard work than we’d ever heard …
The third album from the melodramatic smooth soul quintet featured an array of R&B classics. While Teddy Pendergrass was featured on this album, he did not lead every song. The three singles — “Where Are All My Friends“, “Bad Luck“, “Hope That We Can Be Together Soon” were all Billboard R&B Top Ten chart hits, and “Bad Luck” reached number one, sporting an incessant grooving rhythm where Teddy Pendergrass cuts into the lyric with conviction. “Hope That We Can Be Together Soon” features the velvety smooth vocals of Sharon Paige on an easy-flowing number. While Harold Melvin carries most of the vocal duties, Pendergrass steps in for a one-liner and closes out on the vamp. Whereas most ballads climax towards the end of the song, the most climatic part of this number one song is the string and horn intro. This is one of four consecutive great albums to come …
As strong as any of the songs featured on 1976′s Car Wash soundtrack, Rose Royce’s 1977 outing,II: In Full Bloom, allowed them to fully shine in their own right and on their own terms. Although their early incarnation as Total Concept Unlimited had paired them with Motown labelmates the Temptations and given them clout in the label stable, it was the addition of powerhouse vocalist Gwen Dickey and continued pairing with über-producer Norman Whitfield that brought the band into their own. Packed with tight funk jams and horn-heavy construction, tempered only occasionally by Dickey’s sweet ballads, II: In Bloom is a disco-funk masterpiece — a pure fusion of both genres that works better than it has a right to, courtesy of both the band’s own confidence and Whitfield’s artful magic. The wistful and absolutely sublime ballad “Wishing on a Star” opens the set and should have been a chart-heavy hitter. …
Easily the best-remembered album by Labi Siffre – thanks to some well-used sample tracks over the years! But over and above the fame of the funky tunes “The Vulture” and “I Got The“, the record’s a key part of Siffre’s 70s catalog – a record that’s as great for its complex songwriting and deeply personal lyrics as it is for its Fender Rhodes lines, and tight musical backings from the combo of Big Jim Sullivan. All titles here are originals, and even when the groove slows down there’s a depth that clearly marks Labi as one of the best singer/songwriters of the 70s – a talent who’s been finally rediscovered in recent years, although sometimes only remembered for a few jazzy hooks from these tunes, and not the strength of the whole magilla! Here’s your chance to dip into the Siffre sound at its fullest – on tracks that include …
Rip and Research by Mr.Moo Posting and additional info’s by Nikos A wicked groover from Odyssey – and a crack little album that has the trio hitting hard all the way through! The upbeat numbers are great, the ballads are warm and wonderful, and even the midtempo numbers come off perfectly – all with a rich quality that makes the album a real standout in mainstream soul at the time! There’s a few playful post-disco touches on the dancefloor tracks, yet the vibe is all soul all the way through – and the female vocals really soar with this righteous energy that has the group sounding better than ever. Review By Derek Anderson Not only was Odyssey’s 1977 eponymous debut album Odyssey, the group’s most successful album, it featured their biggest hit single, Native New Yorker. This was a song that would forever become synonymous with Odyssey, reaching number twelve in the …
This album is a monument!! Afro Latin Funk at its best, full of heavy percussions, exciting brass, psychedelic organ grooves & fuzz guitar. Killer beats and breaks all along! 10 tracks including “Ritual“, “Caballo Negro“, “Baila Chibiquiban“, “Lupita” & “Naci Para Bailar“. Note that this rare reissue features the beautiful sexy nude cover and that original LP copies are up to 300 euros nowadays! Essential!! Tracks A1 Caballo Negro 3:09 A2 Naci Para Bailar 4:46 A3 Cuba Libre 3:28 A4 Samba De Una Nota So 3:08 A5 Baila Chibiquiban 3:05 B1 El Condor Pasa 3:40 B2 Lupita 3:41 B3 Pa! Pa! Pa! Pa! 4:46 B4 Ritual 3:54 B5 Eso Es El Amor 3:46 Nico Gomez is a Belgian writer/composer who is famous for his Latin-American sounds. He conducted the famous Nico Gomez Orchestra and also wrote for Los Chakachas, another well known Belgian group. “Ritual” recorded in the early 70s …
Minnie Riperton’s first album for Epic – and the record that broke her from a hip Chicago underground artist into one of the seventies’ biggest soul divas! The record moves past the baroque soul of Minnie’s early years with Rotary Connection and Charles Stepney – and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus’ backing did for that of Chaka Khan. Of course, it helps that she’s got some superbly sensitive writing and arranging help by husband Richard Rudolph – and Stevie Wonder’s definitely lurking in the background, too. Includes Minnie’s huge crossover hit “Loving You“, a perfect showcase for her beautiful 5 octave voice. Tracks A1 Reasons 3:25 A2 It’s So Nice (To See Old Friends) 4:47 A3 Take a Little Trip 4:11 A4 Seeing You This Way 2:51 A5 The Edge of a …
This Millie Jackson’s tremendous debut album – and the work here is completely different from later records that have her more in a bitchy mode! Here, Millie’s a heartbroken southern diva – right in the vein of Ann Sexton, Doris Duke, or Shirley Brown – and even though the arrangements are done north of the Mason/Dixon line (in New York by Bert DeCoteaux, and in DC by Tony Camillo), the record feels like it was lifted off the pressing plant in Muscle Shoals or Jackson! Tracks A1 If This Is Love 3:37 A2 I Ain’t Giving Up 2:34 A3 I Miss You Baby 2:54 A4 A Child Of God (It’s Hard To Believe)3:37 A5 Ask Me What You Want 2:49 B1 My Man, A Sweet Man 2:30 B2 You’re The Joy Of My Life 3:08 B3 I Gotta Get Away (From My Own Self)2:42 B4 I Just Can’t Stand …
For my money, one of the most overlooked, underappreciated, “lost” classic albums in just about any genre. Darrell Banks might have hailed from the North, but his voice and style of soul was all South. I mean, he’s got some grit behind his teeth. Not quite the preacher of Otis, maybe not as emotional as Carr, but still as powerful as either – Darrell Banks career was unfairly cut short. He should have made it, he should be important. At the time of writing this review, I haven’t been on a soul music kick in some time, years in fact. I listen to things here and there, but nothing deep. I’m more likely to listen to The Temptations and early Stevie than throw on Johnnie Taylor and OV Wright. Yet for the past couple years, even though my collection of soul albums is vast and underplayed, “Darrell Banks is Here!” …
Never seen it sold under 300 $. A real killer from Marvin Holmes and his hip Oaktown combo Justice – a group who effortlessly blend together jazz, soul, and funk into a wonderfully soaring style – yet one that’s also more than heavy enough to live up to the message-oriented lyrics of the tracks! The album’s one of those rare soul sides that really blows away most of the mainstream from the time – a wonderfully heady album that could only have been cut in the underground – where folks like Marvin were keeping things real, and pushing a social agenda that was way stronger than anything you’d find in the charts! Horns are great, as are the rhythms – and the vocals blend together perfectly on cuts that include “Motherless Child“. Recorded at San Francisco Originally released from Brown Door Records as MH 6581 LP, 1975 Tracks a1 You Better …
Rip and Research by Mr.Moo Posting and additional info’s by Nikos The first album from Thelma Jones – and a real standout set from mid 70s Columbia! The record is a sweet blend of southern and modern soul, with some fantastic arrangements by Bert DeCoteaux, who also produced the set in a wonderful way that lets Jones retain the deeper qualities of her vocals, but also glide nicely on some warmer modern touches. There’s a really unified feel to the whole record, and tracks are a range of work by 70s song writing greats that include Sam Dees, Leon Ware, Grey & Hanks, and Gamble & Huff. Features the excellent single How Long, her signature tune, the Brad Shapiro produced ballad Salty Tears, and a whole lot of sides overseen by Bert DeCoteaux, the best of which – the mid tempo I Can Dream, and a trio of Sam Dees songs including …
Review by Mat Schofield By her own admission, Marsha Hunt was maybe not the most technically accomplished of the many female vocalists to make their mark in the 1960′s and on occasion she seemed to overcompensate for inappropriate material by singing in the style of someone trying very hard to get noticed. This collection of songs covering sessions from 1969-1971 is a hotch-potch of bluesy show tunes, swamp rock, Dylan, The Band, Traffic and a brace of songs by the fledgling Marc Bolan. Sometimes she’s backed by strings, jazz musicians, rock stars and sometimes it sounds like its a bit of everything. But like Hunt herself, the whole package gels as a sum of its parts, pulling you back again and again for repeated listens. Whether it’s her unpredictable vocals, the ambitious range of material or the top-notch backing, the whole thing seems to work! Tracks A1 Walk on Gilded Splinters 3.30 …
Rip and Research by Mr.Moo Posting and additional info’s by Nikos Sweet keyboards and loads of wonderful 80s grooves – a great little set that perfectly balances jazzy riffing, funky rhythms, and warm soulful vocals! The cover’s a bit slick, but there’s a lot more depth here than some of Prime Time’s contemporaries – an ear both for the mainstream and the soulful underground – and one that has the group sparkling well on both the upbeat groovers and the sweet slow slow steppers! (Dusty Groove) Tracks A1 I Owe It to Myself 3.46 A2 Make Up Your Mind 3.48 A3 Flying High 4.40 A4 I Want Somebody Tonight 2.51 A5 Spinning 3.08 A6 Give It to the Beat 3.41 B1 Love Talk 5.40 B2 I Can’t Get You Off My Mind 5.13 B3 Talk It Over 4.46 b4 Anytime Is Prime Time (Theme Song) 4.46 PRIME TIME was an electro Funk …