Funk my Soul

Blossoms - 1972 - Shockwave

nikos1109 — Mon, 06 Sep 2010 05:56:54 +0000

The Blossoms were one of the premium female backing vocal groups during the 60s and 70s and existed in many versions under many pseudonyms. Familiar artists that came and went include Edna Wright, Gloria Jones and Merry Clayton - the trio featured on this LP includes only one member of the original sextet, Fanita James - accompanied by Darlene Love and Jean King. Together they bring some of that chirpy feminity that graced the sixties, in particular the Phil Spector sound, and soak it up in a whole lot of soul. This was sadly their only long player, so savour their spirited scent as they invite you to their sweet garden of soul.

This is a 320 LP rip of the Lion Records original vinyl including covers.

Tracks
A1 Touchdown (2:15)
A2 It’s All Up To You (2:57)
A3 Cherish What Is Dear To You (2:25)
A4 Moody (2:40)
A5 Fire And Rain (3:45)
B1 Last Call For Love (2:20)
B2 Shockwave (2:15)
B3 Grandma’s Hands (3:33)
B4 Heartbreak (2:47)
B5 Just Remember (3:07)

Review by Trakbuv

Believe it or not, this is the only LP released by The Blossoms. The Blossoms were one of the greatest secrets of the 60/70s, backing artists from Elvis to Tom Jones, with a career stretching back as far as 1954 where they started out as the sextet, The Dreamers. Comprising of Fanita Barrett (later James), Gloria Jones, Jewel Cobbs, Pat Howard and twin sisters Annette and Nanette Williams, they formed at high school with a strong gospel routine. And although they garnered favourable support from radio DJ Johnny Otis and crooner Richard Berry, their activities were not so popular with the parents of Jewel and Pat who promptly had to leave the group. They recorded several creditable singles for Flair and RPM records accompanied by Richard Berry, including the delightful chirper ‘Daddy Daddy’ release in 1955 (which did include Jewel and Pat before their departure). They also surfaced as The Rollettes (minus Nanette) on Class Records, releasing the ever-so-sweet ‘More than you realise’ in ‘56. They then signed to Capitol Records whereupon one of the executives likened them to a bouquet on account of their different skin tones, and from that sprouted the name The Blossoms. Several singles ensued that unfortunately fell into forgettable pop fodder, although ‘He promised me’ is quite enigmatic.

In 1958, Nanette was planning to leave for motherhood when the band fortuitously met her replacement, one Darlene Wright (Darlene Love), performing at a friends’ wedding around the same time. Things now start to get a bit complicated with respect incarnations of the band. They released some cutesy pop numbers out on RCA as The Playgirls (’59-’60), and had a minor hit as The Co-Eds (on Challenge) in the catchy ‘Son in law’ (#79 US Pop in 1961). They were also becoming highly regarded session singers which kept the money rolling even if the hits weren’t so prolific. Their next hit was much more impressive, this time under the pseudonym of The Rebelettes. Duane Eddy provided the basis for the poptastic ‘Dance with the guitar man’ - a sure-fire fingersnapper that clicked all the way to #12 US Pop 1962. And just to mix it up even further, The Blossoms ACTUALLY recorded ‘He’s a rebel’, the huge smash that was credited to The Crystals in 1962. Gloria Jones left soon thereafter forcing the remaining duo to join up with Bobby Sheen as Bob B Soxx & the Blue Jeans. Yet another huge hit came tumbling in the form of ‘Zip-A-Dee-Doo-Dah’ (yes, the one and the same !) breaking into the top 10 US Pop. But still no hit for ‘The Blossoms’ !!

The Blossoms continued doing session work, now for the Philles label (where Darlene secured solo success), recruiting Merry Clayton or Edna Wright (Darlene’s sister) to make up the trio from time to time. In 1964, they finally recruited full-time member Jean King (an awesome singer in her own right - just check out her ‘Don’t say goodbye’ and ‘Something happens to me’ for soul heaven) and thus begun a love affair with the public as regulars on the TV Show, “Shindig !”. They then entered their most soulful tenure yet at Reprise Records, with excellent sides in the form of ‘Let your love shine’, ‘Good, good lovin’ and ‘That’s when the tears start’. Other glorious 45s that met with a lacklustre public reaction were the tremendous ‘Stoney End’ (Ode Records 1967, with Jean on lead), and the gorgeous ‘I ain’t got to love’ and the pleading ‘One step away’, both for Bell Records (1970). They then (re-)joined MGM and were assigned to their Lion Records subsidiary and given a moderate budget to record their first and only long player in 1972.

Even with three different sets of producers, there is still a reasonable continuity throughout, reminding me a little of the string-laden Holland-Dozier-Holland stuff coming out on their own label. However, the material is slightly patchy, and lacks an obvious single. For example, “It’s all up to you” - the initial single - is a insiduous swayer that oozes class, but was probably too subtle to catch the attention of the public. The cover versions here are also exceptional, with “Fire and rain” given a captivating bluesy treatment, and “Grandma’s Hands” is brilliant in its understated thunder - and together with the sombre “Just remember” - is that 3 tracks featuring 3 different leads ? The catchy “Cherish” (written by H-D-H) had apparently already been a hit for Freda Payne, which would have otherwise been an obvious choice 45. The remaining tracks are all commendable and worthy inclusions, providing an extremely satisfying album experience. However, without that unique and potent single to fanfare its existence, the LP suffered poor sales. Which is such a shame when you consider the calibre of these girls and the varying winds of fate on which they had been carried - yet these blossoms held their majesty through it all.

Darlene left The Blossoms in 1974 amidst personal problems and allegations of Jean’s drug abuse. Jean sadly passed away in 1983 from a heart attack. Fanita continued to keep The Blossoms alive, with Gloria Jones coming back to the fold in 2000. I believe that they have since retired.

An excellent biography of The Blossoms can be found here

—————————————

Never released on cd. Buy the vinyl from Groove Collector or Ebay.

Rapidshare

Zshare

Linda Lewis - 1975 - Not A Little Girl Anymore

nikos1109 — Sun, 29 Aug 2010 21:01:16 +0000

I came across a vinyl copy of this wonderful singer at my last visit to London and I couldn’t resist buying it, though I had the US version of it. Fabulous, absolutely fabulous. One of the greatest and most underestimated popular singers that this country’s produced.

A strong 70s set from Linda Lewis – her first for Arista, and a date that has her picking up a fuller style than before! The arrangements here are by Bert DeCoteaux, who brings in plenty of soul – and Linda’s working in modes that run from the simple, personal style of her Warner years to some of the more lush sounds you might expect at Arista – hints of club at points, but an even better dose of keyboards and strings that make the midtempo tracks especially great. The set was recorded in both London and New York.

This is a @320 vinyl rip of the original Arista LP including covers.

Tracks
A1 (Remember the Days of) The Old Schoolyard 3:11
A2 It’s in His Kiss 3:18
A3 This Time I’ll Be Sweeter 3:50
A4 Rock and Roller Coaster 3:16
A5 Not a Little Girl Anymore 4:12
B1 Love Where Are You Now 3:27
B2 My Grandaddy Could Reggae 3:20
B3 I Do My Best Impress 3:33
B4 May You Never 3:58
B5 Love, Love, Love 3:42

Review by Amy Hanson
The title says it all. No matter how well-loved Linda Lewis was during her days at Reprise, still the focus of both marketing and material was on the sheer youthful glee with which she attacked every performance. Her debut at Arista, however, was built around her determination that, at last, she was going to be treated like an adult, a vow that proved to have been fulfilled long before you reached the sultry, resolute title track. Packing more covers than any of her earlier albums, Not a Little Girl Anymore nevertheless emerges as Lewis’ most well-rounded and, perhaps, personal album yet. Cat Stevens‘ “(Remember the Days Of) The Old Schoolyard” a somewhat forced exercise in nostalgia in its writer’s hands, is here imbibed with a genuine sense of emotion and regret. However, there is no time for maudlin reflection as “It’s in His Kiss (Shoop Shoop Song)” a wily cover of the Betty Everett classic, simply erupts out of the song’s closing notes with a rambunctious passion that suggests kissing is only the first thing on Lewis’ mind. From there on, and to paraphrase one of the album’s other prime cuts, Lewis rollercoasters through a succession of moods and styles, ranging from the emotive soul of Gwen Guthrie’s “This Time I’ll Be Sweeter“to her own (stylistically, aptly titled) “My Grandaddy Could Reggae” a reminder of the versatility that past albums occasionally allowed to overwhelm content, but which here is balanced with delicate precision. And, as you approach the end, the gentle “I Do My Best to Impress” leaves the listener with one thought. You succeeded.

————————————————

UK front LP cover

This British artist is one of the most unique vocalists to come out of the 1970s, but so many people don’t even know who she is. Probably since her music is not only soul or R&B. And at times it’s pretty funky, in a groove-oriented way. But it’s not funk. So what does Linda Lewis do? I can’t even describe it myself, but rare-groovers like myself scramble for her hard-to-find albums.
Linda’s music is great stuff, but it’s her voice that makes the tunes both weird and wonderful. At one moment, Linda might sing in a “normal” husky lower register with the conviction of a worldly-wise woman. In the next stanza, she may switch to the voice of a breathy, nasal, pre-pubescent lil’ bit. It’s her high, multi-octave voice that many people compare to Minnie Riperton’s. I would compare the two ladies’ poetic lovelorn lyrics before I’d compare their voices, but like Minnie, Linda’s effortless vocals seem to bring the listener back to a time of innocence.

UK back LP cover

————————————————-

Biography from Soulwalking

Buy the vinyl and cd from Ebay

Rapidshare

Zshare

Enjoy her masterpiece “Lark” in our back pages here.

Junior Parker - 1971 - Love Ain’t Nothin’ But A Business Goin’ On

nikos1109 — Sun, 22 Aug 2010 22:35:44 +0000

Mr Magic Blues makes a ’70s soul classic and Mr.Moo kindly offer it to us.

One of the funkiest albums ever from Junior Parker – a great little set that shows he had a lot more to offer than just the average bluesman! The album’s got a nice little soul sound in the backings – tight rhythms from Horace Ott, who nicely avoids a lot of the cliches that the blues business was hitting at the time – in order to keep Junior in hip territory that’s filled with breaking drums and heavy basslines! There’s a few key crossover tracks here, plus some surprisingly sweeter numbers – and the album’s a gem through and through – well-appreciated by new generations over the years, thanks to its diversity of tracks!

This is a @320 vinyl rip (supplied by Mr.Moo) of the original Groove Merchant LP including covers

Tracks
A1 Love Ain’t Nothin’ But a Business Goin’ On 3:20
A2 The Outside Man 3:12
A3 Darling Depend on Me 3:43
A4 Taxman 3:42
A5 Rivers Invitation 2:45
B1 I Wonder Where Our Love Has Gone 3:38
B2 Just to Hold My Hand 3:51
B3 You Know I Love You 3:33
B4 Lady Madonna 2:12
B5 Tomorrow Never Knows 3:25

Review by Andrew Male (Mojo Magazine)

Herman Parker Jr. was born at the heart of the blues in Clarksdale, Mississippi in 1932. He died tragically young, from a brain tumour in 1971. In between, he produced some of the most soulful blues of the ’50s and ’60s. Mentored by Sonny Boy Williamson and Howlin’ Wolf and talent-spotted by Ike Turner, Parker started out as Little Junior who, with The Blue Flames cut the riotous Feelin’ Good and the eerie Mystery Train for Sun Records. Parker’s downhome late-’50s sides for Duke brought him success but when he moved away from hard blues he lost his audience. As a result, most scholars tend to write off Parker’s later, more soulful sound. This is a shame as his final recordings contain some of the most warm-heated sunshine soul of the period. Cratediggers rate this album (alt. titled Outside Man in its Capitol incarnation) because of Sonny Lester’s clear production, and in-the-pocket groove from Jimmy McGriff’s soul-jazz combo and Parker’s three Beatles tracks – Taxman, Tomorrow Never Knows and Lady Madonna – where the singer’s good-hearted character cuts through the clichés, even going so far as to blanche at the meanness of George Harrison’s lyrics on Taxman (“Oh, this is awful!”).

Also worth tracking down is Parker’s glorious cover of Ain’t It Funny How Time Slips Away from the same period; an epic spoken-word reworking of the Willie Nelson country classic that deserves to sit alongside such other soul overhauls of white radio standards as Isaac Hayes’ By The Time I Get To Phoenix and Bobby Womack’s cover of The Carpenters’ Close To You.

——————————————–

Biography from AMG

Buy the vinyl from Discogs and CD from Amazon

Rapidshare

Zshare

The Choice Four - 1974 - The Finger Pointers

nikos1109 — Sun, 15 Aug 2010 10:02:12 +0000

The Choice Four were a very classy all male quartet that I imagine RCA had high hopes for. The now legendary Van McCoy was beginning to hone his sound that proved so devastating in the more sophisticated 70s discos, and The Choice Four were one of his earliest projects to benefit from this flourishing talent. Ironically, their debut “The Finger Pointers” was predominantly ballad driven, but perhaps demonstrated the more mature aspects of Van McCoy’s repertoire. They went on to score with another two wonderful albums without ever really catching fire with the masses. Hear their debut and contribute to the belated rapturous applause that it deserves.

Tracks
A1 The Finger Pointers (part 1) 3.06
A2 Can’t Get Used To Sleeping Alone 3.24
A3 The Woman I’m Being True To 3.27
A4 I Need Your Love To Keep Me Warm 3.30
A5 I Can’t Make you Love Me 3.27
B1 Ready, Willing and Able 2.52
B2 You’re So Right For Me 3.59
B3 If I Don’t Love You 3.06
B4 The Finger Pointers (part 2) 3.16

Review by Trakbuv

Only the choicest cuts are selected for your delectation - and this week we include The Choice Four. A quartet of the finest, succulent soul tenderised in a lush gravy courtesy of Cordon Bleu chef extraordinaire, Van McCoy. Mr McCoy had come fresh from success as arranger and producer with The Stylistics (”Heavy” and “Let’s put it all together” LPs, under the close supervision of Hugo and Luigi) and working with Faith, Hope & Charity (with whom The Choice Four would later record “A time for celebration”). Armed with a slew of McCoy originals, he seems to be much more liberal with the soul sauce and less inclined with those familiar heavy drums and vibraphone laced melodies that scored so heavily in the mid to late seventies. And with one the earliest collaborations with long-term writing/arranger partner, Charles Kipps, this LP is as much an important statement in the career of Van McCoy as it is for the Choice Four.

The Choice Four were Bobby Hamilton (lead tenor), Ted Maduro (second tenor), Pete Marshall (first tenor) and Charles Blagmore (tenor baritone and bass). All were very adept at taking centre stage providing a lovely breadth to their quality. Maduro and Marshall had been part of a doo-wop act called The Love Tones, while Blagmore had come from The Stridells. I managed to locate a couple of very competent doo-wop numbers by The Love Tones (‘United’ and ‘Talk to an angel’) that may be attributed to the same act. The Stridells were a more progressive ensemble and had a couple of seriously soulful releases in ‘Mix it up’ and the gorgeous ‘Power to dream’. An interesting interview with Osiris Marsh, a one-time member of The Stridells who later went on to form the famed funk outfit, Osiris, showcases the rivalry between The Love Tones and Stridells : “The Stridells could out-sing just about any other group in school. To prove it, they battled against their rivals, The Love Tones, at a talent show. ‘We blew ‘em away’, Osiris laughed. ‘They were good guys, though. I know ‘em all. We all went to the same high-school, Eastern High-school, here in Washington. The Love Tones had been there, doing their thing, a year ahead of me. They could dance real good.’” I’m not so clear about the roots of Bobby Hamilton, although a gentleman with a striking tenor of the same name had had a moderate hit with ‘Crazy eyes for you’ (Billboard Top 40).

“The Finger Pointers” was the debut long player for The Choice Four, released in 1974 on the powerful RCA imprint during the heyday of Sweet Soul. And what a spectacular way to open the curtain on these gifted singers with a tried and tested formula of catchy hipshakers and dreamy cuddlers all hallmarked with a Van McCoy symbol of supreme quality. We open with one of the singles, “The Finger Pointers”, a kind of homage to ‘The Backstabbers’, and it is the perfect introduction to the exceptionally catchy uptempo style that Van was developing, although I was very surprised to find it only managed to hit #85 on the R&B Charts. This is followed by the cream track of the LP, the extraordinarily divine “Can’t get used to” - a track that never fails to make my forearms bristle. “Woman I’m being true to” is a slightly more funky stepper, and is the sole contribution of Charles Kipps. Side One closes with two downtempo goodies, “I need your love” being the better and a throwback to the warm sound of The Chi-Lites at their best.

Side Two kicks off similarly to Side One, with a skip-a-long tuneful dittie in the form of “Ready, Willing & Able” (and like “The Finger Pointers”, it would be re-recorded by David Ruffin). Another single released from the LP was the adorable ballad “You’re so right for me”, a direct link with Van’s time with the Stylistics, and surprisingly it only attained #63 R&B considering how popular The Stylistics were, and how lovely the track is. Then one of my very favourite Van McCoy compositions (with Joe Cobb), the utterly brilliant “If I don’t love you”. And while this does not quite match the deft beauty of Bobby Reed’s version from 1970, it is still undeniably stunning. An album that may have been hindered by the lack of thump to the butt with being more perfectly attuned to the lump to the throat, it is still a very honourable reminder that many outfits, like Blue Magic and The Chi-Lites, were not overly concerned with having a ballad heavy 33. And for me, that was always a welcome pleasure.

Another exceptional LP from an exceptional outfit, this time capturing Van McCoy at his most exquisite.

————————————————————–

Buy the vinyl from Dusty Groove or Ebay.

Rapidshare

Zshare

Jimmy Hughes - 1970 - Something Special

nikos1109 — Mon, 02 Aug 2010 08:06:50 +0000

A Southern Soul diamond.

Something Special is the only Stax album cut by singer Jimmy Hughes – an artist with a huge impact on southern soul in the 60s, but one who never got the push his career deserved, probably because he kept bouncing from label to label! The style here is kind of an update of the groove that Jimmy first recorded for Vee Jay and Atco – a more refined approach to bluesy soul that’s somewhat in the same space that Stax were hitting with Johnny Taylor at the time. Backings are sometimes nicely chunky, almost funky – and tunes are produced by Al Jackson, Al Bell, and Charles Chalmers – all good candidates for a set like this.

Tracks
A1 I Like Everything About You 2:54
A2 Let ‘em Down Baby 2:41
A3 I’m so Glad 2:57
A4 Lay It on the Line 2:34
A5 Sweet Things You Do 2:20
B1 Chains of Love 3:15
B2 I’m Not Ashamed to Beg or Plead 2:56
B3 It’s All Up to You 3:03
B4 Lock Me Up 2:02
B5 What Side of the Door 2:58
B6 Peeped Around Yonder’s Bend 2:34

Review by Soulmakossa

Jimmy Hughes, the man who practically kick-started the Southern Soul genre in 1964 with his legendary FAME-recording “Steal Away”, never attained superstardom; but the small legacy of music he left behind before quiting the business altogether in the early ’70s still stands as a goldmine of Soul.

His last album, recorded for Stax/Volt, is rightfully seen as the singer’s finest achievement. Although devoid of big hits, it is a perfect, soulful, at times funky listen all the way through.

Hughes’ gutbucket blues belting style of vocalizing immediately makes its presence felt on the slow grinding, delicately arranged country soul ballad “I Like Everything About You”. It’s really at its apex as Jimmy soars through the lowdown blues of “Let ‘em Down Baby”. Hughes shifts from velvety moans to all-out testifyin’ at the drop of a hat. Brilliant gospely backing vocals here as well.

The beat picks up on two hard socking Chalmers/Rhodes rompers: “I’m So Glad” features massive horn riffs as well as a jangling sitar, and the funk gets even thicker on the greasy soul jam “Lay It On the Line”. Jimmy at his wailing-est finest.

His rendition of labelmate Eddie Floyd’s “Sweet Things You Do” stays fairly close to the original, retaining the heavy horns, fatback groove and earthy guitars whereas “Chains of Love”, driven by the electric clavinet and chugging tambourine, betrays the Norman Whitfield influence that was dominating the Motown sound at the time. The mid-tempo “I’m Not Ashamed to Beg or Plead” returns to the country soul vibe, trading the clavinet for a warm, purring Hammond.

“It’s All Up to You” showcases Stax’ late ’60s transitional period quite well: this gorgeous, boppin’ tune keeps the groove firmly on the one, but it’s embellished with a truly wonderful string arrangement and lavish backing vocals.

The frantic “Lock Me Up” may well be one of the funkiest joints Hughes ever waxed, featuring bottom heavy rhythm, booming bass-lines and blaring horns. Then again, “What Side of the Door”, with its wailing harmonica and lurching, menacing groove undoubtedly ranks as Jimmy’s hardest funk excursion.

‘Something Special’ ends fittingly, with Hughes working up a sweat in a raw, shufflin’ blues bag with “Peeped Around Yonder’s Bend”.

A magnificent album, and very well-titled. This is a collection of grade A Southern Soul by one of the genre’s most underrated titans.

——————————————

Rapidshare

Zshare

I’ll be away on vacations for a few days. It’s time to reconsider to future of the blog. I might continue but I might stop. I need sometime to think of it more seriously.

Natalie Cole - 1975 - Inseparable

nikos1109 — Sat, 24 Jul 2010 08:59:32 +0000

Mr.Moo’s new contribution is just perfect.

Oh my God, Natalie Cole’s debut is just SLAMMIN’. Aretha Franklin, it looks like you have a princess of Soul in your court. Produced by Marvin Yancy (single and pretends he’s married, according to Natalie Cole herself) and Chuck Jackson (Married and pretends to be single, Also according to Natalie Cole), this album features some of her greatest cuts and vocals ever to be waxed. “Needing You” starts it off with a little “Shaft”-like groove then it mellows out into its own thing. the cuts, “This Will Be”, “Inseparable”, “I Can’t Say No” and the powerful “You” are the album’s centrepieces. A beautiful work of art that fully deserved the Grammy in 1976.

This is a @320 vinyl rip (supplied by Mr.Moo) including covers.

Tracks
A1 Needing You 2:45
A2 Joey 2:57
A3 Inseparable 2:26
A4 I Can’t Say No 3:30
A5 This Will Be 2:50
B1 Something For Nothing 2:57
B2 I Love Him So Much 3:24
B3 How Come You Won’t Stay Here 3:03
B4 Your Face Stays In My Mind 2:45
B5 You 3:30

Review by Steven Riggs (SoulTracks)

Natalie Cole has had the type of career and longevity that is the envy of nearly any musical artist. Cole has been making music for some 30+ years and shows no signs of slowing down. And one the most critically acclaimed debut of the mid-seventies, the newly re-released Inseparable, proved to be the beginning of a phenomenal singing career that would encompass the genres of R&B, pop, jazz, and gospel.

Inseparable exploded onto the music scene, garnering Grammy Awards for Best New Artist and Best R&B Female Vocal Performance. The excitement of Inseparable came with the fact that the daughter of Nat “King” Cole was thrilling audiences with her overwhelming vocal energy and fire. Some critics even suggested that Natalie Cole was the new “Queen of Soul,” a comparison with Aretha Franklin that sometimes generated unwanted pressure and public backlash for Cole. Despite all the attention Inseparable received, one fact remains: Natalie Cole released a debut album that stood the test of time. Inseparable is still full of the same vigor it possessed some 32 years ago.

Most legendary vocalists have their signature hits, and one of Natalie Cole’s is “This Will Be (An Everlasting Love)” which is among the most remarkable debut singles ever. From the gospel piano intro to Cole’s soulful hums to the memorable lyrics and instrumental transitions, “This Will Be” was an excellently arranged track that became Cole’s first #1 R&B smash and remains a force on R&B and pop radio (and now serves as the theme song for eHarmony.com). The title track, a heartfelt love ballad that became her second #1 single, is also an R&B classic largely due to the fine arrangement and Cole’s emotional vocal performance. Classics like “Joey” and “I Can’t Say No” still receive airplay on R&B adult contemporary and quiet storm formats. And tracks such as “Something For Nothing” “I Love Him So Much” and “How Come You Won’t Stay Here” showcase Cole’s relentlessly soulful vocals, combining to make Inseparable an astounding debut. The final cut, “You” begins with Natalie’s sexy dialogue and evolves into a heart wrenching ballad where Cole lets loose vocally and emotionally. This cut would later be covered by none other than Aretha Franklin. Thanks to the superb writing and production team of Chuck Jackson and the late Marvin Yancy and Cole’s unrestrained performance, Inseparable proved to be the beginning or continuation of a great musical legacy.

After Natalie Cole’s success with Inseparable, she went to record a string of highly successful gold and platinum albums as well as topping the R&B charts four more times and scoring numerous R&B and pop top ten hits. Most recently, Cole recorded the Grammy nominated Leavin’, which was a return to her soulful roots. Ironically, a track on that album, “The More You Do It, (The More I Like It Done),” pays homage to her classic hit “This Will Be (An Everlasting Love).” One could say that Natalie Cole’s career has gone a highly successful full circle. I would say that the circle is no where near complete and we have yet to hear more of the wonder of Natalie Cole. The best is yet to come. It is gratifying to listen where Natalie Cole’s musical journey began on Inseparable. To those who have never heard this album, you are in for a “real” soulful musical experience. Highly recommended.
————————————–

Buy Vinyl or CD from Ebay or Amazon.

Rapidshare

Zshare

The True Reflection - 1973 - Where I’m Coming From

nikos1109 — Sat, 17 Jul 2010 16:38:56 +0000

You can’t miss with Philly Sophistisoul right !! And yet another obscurity that is hard to accept as such - surfacing for your seasoned palate, demanding only the best. True Reflection are a high calibre quartet that recorded just the one LP, but truly seize their moment to leave a mark reeking of quality. Boasting both incredible tenor and falsetto leads, and exceptional harmonies, you really cannot fail to be impressed when the songs are as good as this.

Tracks
A1 Whisper 5:00
A2 That Was Yesterday 3:25
A3 Society 4:20
A4 What You Don’t Know 2:30
B1 It Really Hurts 4:00
B2 Helpless Man 5:00
B3 That’s Where I’m Coming From 2:40
B4 Look At All The Lonely People 4:40

Review by Trakbuv

Another volatile star that blazed for one album and then imploded, scattering its components to the far reaches of the soul galaxy. And in “Where I’m Coming From”, paraphrasing from the movie Bladerunner, True Reflection ’shone so very brightly’. With roots in Washington DC, the quartet came together at the mighty Sigma Sound Studios, Philadelphia, PA. And under the august auspices of arrangers Norman Harris, Ronnie Baker, and Vince Montana, an assured seam of quality was ingrained into the vinyl. And to add to the mix, True Reflection were no strangers to the recording studio themselves. Glenn Leonard had been a member of The Chancellors (recall ‘All the way from Heaven’), The Instant Groove, and The Unifics. Joe Blunt had also been with The Chancellors. The remaining two members, Joe Coleman and Bobby Cox do not seem to have any obvious musical connections prior to True Reflection.

However, True Reflection did provide a springboard for their musical careers. Glenn Leonard went on to replace Damon Harris as first tenor and lead singer of The Temptations (1975-83), with possibly his most notable lead on the single ‘Power’. Jo Blunt joined The Drifters in 1975 just as their popularity soared in the UK with popcorn numbers like ‘You’re more than a number’ and ‘Hello happiness’. He featured as lead on several tracks including ‘Like a movie’ and ‘When you coming home’. Joe Coleman went on to form part of The Persuaders line up (1974-75) and later teamed up with his brother William, and Richard Gant (another ex-Persuaders who had been replaced by one Howard Kenney), to form Mirage. In 1978, they released an excellent LP in their own right entitled ‘Princes of Love’.

Back to 1972, True Reflection release their debut single “Beer Cans and Empty Hands” b/w “Silent Treatment” (Atco 45-6905) to a thunderous silence. The following year they follow it up with a long player utilising the same writing/production team responsible for their 7″, namely Bob Currington, T. Lester, W. Lester, R. Brown and Joe Blunt. Some may recognise these as the same dudes that kicked up a storm for The Modulations on their ‘It’s Rough Out Here’ LP. And for me, a comparison in formula of funky burners and sweet ballads can be readily drawn between the two high calibre sets.

“Whispers” is a wonderful introduction to the band, a gritty blend of Norman Whitfield and the Sigma Sound, with fabulous lead vocals and harmonies all neatly tied up with a message to the music - probably my favourite track. “That was yesterday” drops the pace to deathly slow with a sombre falsetto, all recalling The Chi-Lites in structure - very impressive. “Society” packs another political punch with a growling lead brooding over a smart synclavier groove. “What you don’t know” is a delightful urgent falsetto-led dancer, and the falsetto is maintained for the tuneful ballad “It really hurts”. This really carries a potfull of stardust in its exquisite tenderness - unbelievably good. The tempo drops a touch for the lovely “Helpless man” boasting terms of endearment like ‘I need you baby like a clock needs his hands’. The skipping “That’s where I’m coming from” provides a slightly more commercial edge to the proceedings, but still wonderful in its own brief way - and a real throwback to the essence of popular soul music of the time. The dramatic “Look at all the lonely people” is another very pretty ballad, if slightly saccharined by its sentiment.

For me, there really are no weakness in the whirl on either side of the platter. Fabulous vocals, exceptional harmonies and great, if not entirely memorable, tunes conveying some thoughtful lyrical content. Another startling reminder of how high the bar stood in the early part of the seventies. But also a very lamentable stinging pinch of the number of high quality bands that came and went with little or no public regard. ‘And then they disappeared like tears in rain.’

————————————

Buy the CD from Amazon and the vinyl from Groove Collector or Ebay

Rapidshare

Zshare