Funk my Soul

Groovy Emmanuel has sent me Rashida vinyl a long time ago! But we decided to post it with bonus the follow up Mind’s Eye in summertime!

Jon Lucien records from this period only seem to make sense in the summer. When it’s hot, the sun is beating down and your feeling lazy is the perfect time to reach for those albums . Lucien has a voice that is rich and warm and he also adds lots of scatting and non singing vocal stylings to his songs. His music is really hard to pin down. He is clearly full of soul but coming from the Caribbean there are many other influences from South America to local styles. The majority of the songs are odes to women and love with the occasional social commentary thrown in for good measure.

Two perfect cool summer records for everyone to enjoy….

Jon Lucien - 1973 - Rashida

Amazing work from the great Jon Lucien -and probably his best-ever record! The album has Jon hitting a totally unified vision of spacey soul - bringing in elements of Brazilian music and touches of his Carribean roots, fusing them together with a sweet jazzy style and one of the most compelling voices we’ve ever heard in soul music. It takes courage to be this gentle and sincere, and although the record was never a hit when it was released, it’s been a perpetual favorite of groovers for many many years - thanks to the depth of Lucien’s lyrics, and the unique range of rhythms in the set! Includes the funky “Would You Believe in Me”, the space “Lady Love”, and the tracks “Kuenda”, “Satan”, “Love Everlasting”, and soooo many more. Essential soul from one of the 70’s most righteous artists - and probably the best place to start sampling his rich career! (Dusty Groove)

This is a @320 CD rip (Japanese release) instead of the vinyl rip for a better quality, including covers.

Tracks
A1  Kuenda 3:10
A2  Would You Believe in Me 2:35
A3  Lady Love 4:58
A4  Luella 3:50
A5  Shana 3:16
A6  Satan 3:37
B1 Rashida 6:08
B2  The War Song 3:18
B3  Esperanza 4:06
B4  Love Everlasting 3:13
B5  Zenzile 5:32

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Review by Groovy Emmanuel

What we really have here is another definition of R’n B, where apart from R for (pure) Rhythm, B stands more for Bossa (nova…) than Blues. And that because Jon Lucien’s odd but unified vision was delivered to the world basically as a spiritual musical menu melting elements of Brazilian music and some touches of his own Caribbean background at the same time.

Jon was born Lucien Harrigan on the island of Tortola, British Virgin Islands in 1942, raised in St. Thomas, US Virgin Islands, arrived in New York by mid 60’s, lived most of his life in the States, saw two of his daughters tragically killed in a period of 17 years apart, underwent a long period of drug addiction, came out winner out of it, returned to the Carribean, back to the music business again and finally rested in peace in Orlando, Florida in 2007.

A life’s journey, a thin line, a few words, a whole story, a record…. All these things in just one record, 1973’s “Rashida”… What a better way for someone to get to know Jon Lucien.

An odd Caribbean accent, a rich baritone voice, an almost late jazz dinner mood, a wide range of  influences twisted north to the central to the south of Americas, and top of all some excellent songs and arrangements done by Jon himself with some help from the great Dave Grusin on the orchestral parts…. That is “Rashida” all about, an almost imaginary soundtrack to the times and life of Jon Lucien. Imagine yourselves trying to focus on what Jon Lucien really represented in the vast field of Rhythm And Blues… An odd man out perhaps, a fish out of water… that is exactly “Rashida” all about…

“Rashida” was Jon’s second album following his 1970 debut “I am Now”. It didn’t met the success it really deserved… who cares! Either you love Jon’s music or you just leave it, there’s no space in between.

His next album “Mind’s Eye” released in 1974, was almost identical to “Rashida”. In nowdays standards, it would definitely served perfectly as a fine double set along with “Rashida”. Jon yet again wrote and arranged the whole set and Dave Grusin did the excellent orchestral arrangements. Told you before, either you love it or leave it.

Jon was never a showy singer, he was always delivering an almost atmospheric performance over his gentle songs. A watery almost immaterialized environment. Ambient before ambient becomes common field. In his own words ” My sound is a romantic sound, it’s water, it’s ocean, it’s tranquillity. I’ve experienced tragedy, loved, lost, lived…”

Music stands beyond any discription or even definition, and Jon’s own biggest achievement over the years was the fact that he finally acquired a cult following around the world among the rare groove afficionados all over the place. Songs like “Would You Believe”, “Listen Love”, “Lady Love”, “Rashida”, etc, etc, etc, are considered classic stuff nowdays, a whole new world for true music lovers to discover… it’s never too late as long there is timeless music…

So now, it’s time for a Prayer In Peace for Jon Lucien.

“The spirit is still there….”

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Jon Lucien - 1974 - Mind’s Eye

Music beyond description or definition - one of Jon Lucien’s legendary albums for RCA - a true pinnacle in the generation of sophisticated 70s soul! The sound here is a unique blend that’s never been heard before - and hardly ever since, even though many have tried - a complicated tapestry of jazz, soul, Latin, and Brazilian elements - all served up with a sense of warmth and soul that are undeniable, and which gives the record a tremendous sense of personality. Arrangements are by Jon himself, but Dave Grusin also headed up the orchestra - and does a beautiful job here as well, with some sweet electric touches that are right up there with his best 70s work. The record’s got a huge amount of great tracks - like “Ghetto Song”, “Soul Chant”, “When the Morning Comes”, and “Prayer for Peace” - and it stands as one of the best ones that Jon Lucien ever recorded!  (Dusty Groove)

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

Tracks
A1 A Sunny Day 2:37
A2 A Prayer for Peace 3:53
A3 Adoration 4:47
A4 So Little Time 2:59
A5 Listen Love 6:35
B1 The Pleasure of Your Garden 2:15
B2 World of Joy 4:58
B3 The Ghetto Song 2:23
B4 Soul Chant 2:57
B5 When The Morning Comes 4:27

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Charles (Chuck) Jackson & Marvin Yancy songwriter/producer duo were behind some of the biggest hits of gold and platinum award singer Natalie Cole. Some of her hits the duo produced and wrote include “This Will Be,” “Inseparable,” “Sophisticated Lady”, “Our Love,” and “I’ve Got Love on My Mind”.

Chuck Jackson started his career as a songwriter in 1969 writing a few songs like “If It’s Real What I Feel” and “Walk Easy My Son” for Jerry Butler. In the early 70’s he met Marvin Yancy and they went to form a soul group The Independents. After the group broke up Chuck and Marvin wanted to continue their co-operation and met Natalie Cole.

Though busy with producing, Chuck had also a solo career recording 2 albums “Passionate Breezes” and “Gonna Getcha’ Love” under the name Charles Jackson, both 70’s old school slow jam.

This is a @320 vinyl rip (supplied by Trakbuv) of the original Capitol Records LP including covers.

Tracks
A1  Passionate Breezes (4:29)
A2  Love Of You (4:25)
A3  Ooh Child (3:35)
A4  Medley: A. I’m In Heaven / B. You Are So Beautiful (4:43)
B1  The Train (4:50)
B2   Tonight’s The Night (4:43)
B3  Get On Down (5:33)
B4  I Really Want You (3:51)

Review by Trakbuv

The Independents were an act I always admired – they had a series of no fuss, almost quaint albums that scored large on lyric and melody.  There was something elegant and graceful about their sound – an earthiness.  I think one of the main protagonists of this aura was Charles (Chuck) Jackson’s brittle vocals, especially when you listen to tracks like the wonderful ‘Baby I’ve been missing you’ where Helen Curry booms with so much more confidence.  That mild-flatness in his pitch has the same endearing properties of Little Sonny of the Intruders – an enigmatic charm that musicians have used to great effect to evoke a sombre, dejected resonance (eg. down-tuning a guitar).  However there are very few vocal exponents of the technique as gifted as these two, both owning a fragility in their larynx that cuts that bit deeper.

I read somewhere that Rev. Jesse Jackson and Charles Jackson were brothers and that Charles used to help in writing some of his speeches.  However, I would like that confirmed by anyone in the audience, especially as they presumably could only have been half-brothers at most, Jesse taking his surname from his adopted father.  What is clear is that having spent a period writing/editing for Playboy magazine, he joined Jerry Butler’s writer’s workshop where he met Marvin Yancy and formed a winning partnership.  Jerry subsequently employed 2 of their compositions for his ‘Sings Assorted Songs’ LP of 1971.  Of course, the duo went on to record many of their compositions as The Independents and then materialised over at Curtom Records where they recorded ‘Same thing it took’ as a demo for themselves.  However, history dictated that they were better employed as writers for the label, providing many excessively catchy, finger-clicking hits for The Impressions, Natural Four and The Notations.  They really hit the big time when they helmed Natalie Cole’s debut, ‘Inseparable’, for me easily her finest collection of songs.  Subsequent LPs with the lady meant more Gold records and more recording acts in the form of Ronnie Dyson, the Gary Glenn Complex, the Independent Movement, and Lace, among others.

About this time, both his writing partner and Chicago/Capitol Records legend Larkin Arnold were enticing Charles back into the spotlight, whereupon an album duly followed.  ‘Passionate Breezes’ is a homecoming as if he never went away, playing as a slightly more polished Independents.  Co-produced by Marvin and Gene Barge (who had helped them out on previous outings, and had built a reputation over at the Chess label for many years), the music has a gentle, almost unassuming Southern Soul quality that permeated their earlier work.  The LP begins with two Jackson/Yancy ballads: firstly the sumptuous title track, a romantic swayer that is half sung, half spoken.  A definite clink of glasses beneath a summer moon, and my favourite track - although I must admit to having a slight preference for The Dells version from 1980.  The mood is maintained for the striking ‘Love of you’.  A dramatic string-fest that oozes sophistication, this is gorgeous rare groove heaven.  The thought of Charles Jackson’s frail reedy vocals fronting a phat slamming funker would ordinarily have me hiding behind the settee, but the opening bass of ‘Ooh Child’ instantly creates a secure atmosphere where Charles really does an amazing job.  A massive hit with the sophisticats, but it is the BASS that owns this record – a certain James Brown being cited as one of the bass players on the credits.  It’s back to what Charles does best, ‘I’m in Heaven’ is a tender ballad that subtly incorporates Billy Preston’s ‘You are so beautiful’ while maintaining the majesty of another Jackson/Yancy original.

‘The train’ reminds me very much of a left-over from The Independents.  It has that simplistic feel, the use of double-tracking on the vocals and a Deep Soul tinge that were characteristic of those glory days.   A wafting joy.  ‘Tonight’s the night’ is a nice, dignified cover of the Rod Stewart number, while ‘Get on down’ is another slice of funk with a dash of disco cynicism.  All very competent and functional, rather than spectacular.  It’s back to earthy Bluesville with another stunning Jackson/Yancy number, ‘I really love you’, to close the album.

The album is really a mood-piece.  It is gentle and heart-warming, and perfectly captures Charles Jackson’s wispy and wistful articulation of his voice.  A thoroughly nice album that is guaranteed to put a wide smile on your face without you even realising it.

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Never released on CD. Buy the vinyl on MusicStack or Groove Collector and listen the wonderful “Passionate Breezes”

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One of the best kept secrets of the early 1970’s. The 1972 LP “Do You Have the Time” and its title tune were in my opinion both overlooked and under-promoted. Great lyrics and a song with a true message that is timeless.

This album comes directly form Jamaica. Yeah! Raphy strikes again with another gem from his crates! And as usual the rip is perfect.

This is what I’m talking about when you bring up sweet, sultry Soul music. The title track is just a sick jam from the beginning with some quick hits on the hi hat to the finger snaps to the bumpin bass line and talking vocals intro. There’s an instrumental version of the song at the end of the record. The rest of the songs are also hot, making the whole album an essential listening.

Tracks
A1 Do You Have The Time (Parts 1 & 2) (6:20)
A2 Stop What You’re Doing, Girl (4:25
A3 I Said … To Myself (4:12)
A4 All The Love In The World (2:30)
A5 Wildfire (3:00)
B1 Don’t Crush My World (3:47)
B2 I’m Still Gonna Need You (4:17)
B3 Me & You (4:12)
B4 Look What Your Love Has Done For Me (3:17)
B5 Do You Have The Time (S.K.A.T.T.) (2:08)

Review by Raphy

What can I say that have not been said about this album?
…………….Simply a MASTERPIECE!…………

Firstly, Do You Have The Time?…..I surely don’t.
That snappy song will keep you rocking & snapping your fingers…But
What’s important is the message it conveys….A very serious song.

Next is the Popular Song, ‘Stop What You’re Doing Girl’. This
Gem Epitomize the sound of the period. Mellow soul strings, with congo
drums playing lightly in the background.

Here comes, ‘I Said…..To Myself’. This is a personal favourite of mine.
What follows next is a deservedly needed change in the tempo, here
we have a jazzy tune called, ‘All The Love In The World’.  Sweet stuff!

‘Wildfire’ is another in between ballad & Up tempo song.
The last track on side A is a well needed Funk, ‘Don’t Crush My World’

Side B similarly replicate what’s on side A. Not to discount the two
Giant Soul/Ballad,  ‘I’m Still Gonna Need You’ & ‘Me & You’.
Finally they signed out with a catchy SKATT version of ‘Do You Have The Time’.

This LP have and will be a favourite for the true Collectors of Raw Soul.

Now my friends, has I put back this gem at the very top shelf, I bid you farewell.

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Bio from Soulwalking

The Younghearts were a vocal group from Los Angeles, California, U.S.A. The group members, at various times, were: Ronald Preyer, Charles Ingersoll, Bobby Solomon (b. 19th November 1944. d. 30th May 1975), Earl Carter, Frank Edward Hayes Snr ( b. 19th August 1942, Caruthersville, Missouri, U.S.A. d. 3rd September 2007) and James Moore. The Younghearts line-up changed over the years, however the high standard of their musical output endured throughout the late Sixties and Seventies.
The Younghearts were, originally formed at Dorsey High School in Los Angeles in 1961, by Bobby Sanders and Charles Ingersoll who formed the group under the name of the Extreems, The groups first recording was for the Dorey imprint and was entitled ‘The Bells’(a top ten on the R & B chart).The group toured several times, but eventually the four members went their seperate ways. Bobby and Charles then joined forces with a three girl group called The Blossoms.

This arrangement of artists performed background vocal chores for the likes of Phil Spector, Dobie Gray along with several other notable artists of that era.
In 1967 put together a new group and called them The Younghearts,  line-up included James Moore, Bobby Solomon, Charles Ingersoll and Ronald Preyer. The groups first record was a song entitled ‘Oh, I’ll Never Be The Same’, which made the Top Ten on the R & B charts. A follow up album entitled ‘Sweet Soul Shakin’ was released in 1968 for the Minit label.The ‘Sweet Soul Shakin’ album included the songs ‘I’ve Got Love For My Baby’, ‘Girls,Girls,Girls’, ‘Sweet Soul Shakin’, ‘Oh, I’ll Never Be The Same’ and ‘Misty’ all of which made the number one slot on the top 5 on the R & B charts at various times between 1968 and 1970.

During that time The Younghearts toured with several famous Soul Artists of that time, including The Temptations, The Dells, The Delfonics, The Moments, The Whispers, The Miracles and The Supremes. During that time Bobby Solomon was replaced by Earl Carter, who was later to be replaced by Marc P. James Moore was then replaced by Brohann. The group then became reduced to three members who were Charles Ingersoll, Ronald Preyer and Bobby Solomon who rejoined the group in 1971.The group then moved to the Avco Embassy imprint for one album and a single release entitled ‘Ooh La We’, which made the R & B Top 20, however Avco never released the album feeling that the sound wasn’t ‘Younghearts’ enough.

The Younghearts then relocated to the 20th Century label and Charles Ingersoll took over the management chores. The group then released the album ‘Do You Have The Time’, which was shortly followed by a second 20th Century outing entitled ‘A Taste Of The Younghearts’ (including musical arrangements from H.B.Barnum).
Several successful singles from each set made the R & B charts, however tour duties in Africa and Australia meant that they could not promote the sets in the way they would have wished. The Younghearts, over the years, earned the nickname ‘The Entertainers’ due to the intense energy of ther performances.

Charles Ingersoll performed with many artists and his vocals can be heard on Sly and the Family Stone’s classic ‘Thank You (For Lettin’ Me Be Myself Again)’. By 1975, the group were writing and producing all of their own material. Sadly, that year, Bobby Solomon died from cancer, at the tender age of 31 years old, and Frank Hayes was drafted in as a replacement.  Signing to ABC Records the group recorded one album entitled ‘All About Love’.  The vocals for the ABC album were undertaken by Charles Ingersoll and Ronnie Preyer and included their version of the Heatwave tune ‘Sho Nuff Must Be Love’ and a cover of the David Gates song ‘If’. Charles Ingersoll then left the group to form his own production company and lost contact with the other group members.

Albums:
Sweet Soul Shakin’ (Minit 1968)
Do You Have The Time? (20th Century 1972)
A Taste Of The Younghearts (20th Century 1974)
All About Love (ABC 1977)

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Never released on CD. Buy The Younghearts vinyl albums on Ebay and enjoy the killer “Do You Have The Time”

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A wonderful collection of tunes, Lamont’s debut album for ABC, a classic of 70s soul! The album has a quality that’s impossible to describe accurately - kind of a post-Motown full-on approach to soul that mixes strings, piano, and that wall of sound groove that was one of Dozier’s biggest contributions to the Motor City. The songwriting is impeccable - and nearly every track is an instant classic - with a depth of lyricism and vocal expression you’d be hard pressed to find from any of Dozier’s contemporaries.

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

Tracks
A1       Breaking Out All Over (5:02)
A2      Don’t Want Nobody To Come Between Us (4:20)
A3     Let Me Make Love To You (5:53)
A4     Fish Ain’t Bitin (4:21)
B1     Interlude (1:29)
B2     Trying To Hold On To My Woman (6:37)
B3     Take Off Your Make Up (5:07)
B4     Out Here On My Own (4:53)

Review by Trakbuv

First time I heard Lamont singing was in 1975 – ‘Why can’t we be lovers’ subsequently became another enforced anthem in our household.  A year or so later, I was scouting the local record shop (dear old Downtown Records, RIP), a small enterprise primarily carrying the latest pop sensations.  However, they did have a few boxes of deletions where I managed to find some treasures in my early teens.  But none lit up my eager, yet non-expectant face more than the day I found ‘Out here on my own’ nestling in a half-hidden, crumpled container beneath the crate tables. A discarded, forgotten child in bedraggled clothes – it didn’t even have a cardboard cover – I fortunately had the alertness to pull it out into the light to examine the vinyl itself through the shabby plastic dressing.  A white cream label flickered its adjusting eyes at me – Lamont Dozier slowly came into focus – and my heart thumped with anticipation.  Unfortunately no ‘Why can’t we be lovers’, but a WHOLE LP of songs I’d never heard of !!!  I grabbed the groceries off my mother and ran all the way home.  I lifted the poor thing out, and gave it a wipe down – its perfect skin once again restored.  I gently held its edges in the palms of my hands and examined the A-side label one last time to get an idea of the track titles.  Then carefully lay its gentle, half-asleep self on the turntable.

A scaling piano, the mild chatter of a guitar, some stabbing horns, drums and then ‘woahhhhhhh’ – Lamont introduces his first LP in triumphant style – the exaltation of ‘Breaking out all over’ seemingly related to his new found freedom as a solo artist.  A glorious way to open a career.  The introductory rap on ‘Don’t want nobody to come between us’ is very sweet and greets a meaty, thumping sound reminiscent of his Motown era.  The sexy ballad-with-a-beat ‘Let me make love to you’ is a wonderful success by all concerned with hints of a Lamont Dozier to come.  And then I realise I had heard one track before, the incredibly catchy chorus (geddit !) of ‘Fish ain’t bitin’, whose verse I have always found to be a little flat in comparison.  Still a great track though.

I watch the pick-up arm move slowly back to its rest position, and am reassured by the crackle-pop of the static from a new LP as I lift the disc from the turntable. Side 2 shows off McKinley Jackson’s symphonic inclinations, the interlude to ‘Trying to hold on to my woman’ being a wonderful exercise in the Barry White’s, before breaking it all the way down to Bluestown to reveal Lamont’s best vocal performance.  He wrings and rings out every drop of emotion in this pleader, reminding me a lot of another stellar singer/songwriter, Sam Dees.  Lamont’s future as a singer was well and truly sealed after this interpretation.  Probably my two favourite cuts follow, ‘Take off your make-up’ is another ballad-with-a-beat that works so well.  So many hooks crammed into one song, and sounding so much like something the man could’ve written himself.  And the killer title track to bow out - what a fine, fine record.  Love this record to death: brilliant lyrics, brilliant production, brilliant hooks, brilliant singing, brilliant outro – simply put, brilliant.

McKinley Jackson had a major input in launching Lamont’s career as a solo act – he produced and co-wrote all the material on the album -   the extravagant, lush arrangements coming courtesy of the masters of the art – Gene Page, HB Barnum and Paul Riser.  They also all went on to ably assist him with his follow-up album, ‘Black Bach’, which allowed Lamont to stretch out with his song writing expertise.  Apart from unveiling a major soul phenomenon as a singer (the Invictus recordings notwithstanding), it is one of his most consistent LPs with no weaknesses and plenty of strengths.  Of course, Lamont went on to record many of his greatest moments by his own pen, but this is the album that took him from ‘standing in the shadows’ to ‘a different world, a world I never knew’.

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Since there’s no CD reissue, buy the vinyl in a decent price on ebay and listen up the wonderful “Breaking Out All Over”

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For those who missed Mr.Moo here’s another one of his great contributions. Mr.Moo would like to inform you that WdF has lately ‘downsized’ to a small strictly private blog with mainly music (WdF like) blog owners and dedicated music reviewers as its members. The number of invitations is therefore very limited. So please do not ask for invites.

Now let’s go straight to Gloria Jones

This is an excellent early-mid ’70s soul album, a real unexpected pleasure.
It’s everything you could want from this genre and period.

Up-tempo, but not too disco/northern
Heartfelt but not too gospel/RnB
Funky but not too heavy/out here

Aided by the great Motown arranger Paul Riser, Jones shows remarkable stylistic range, from the deep soul of “Try Love” and reggae of “Why Can’t You Be Mine” to the proto-Philly sound of the title track and Mediterranean flavour of “Oh Baby”.

Though never viewed as a major figure in soul music, Gloria Jones was a prodigiously talented singer and songwriter whose signature hit, “Tainted Love” ranks as one of the greatest soul tracks of all time. In 1973, Jones released her lone album on Motown, SHARE MY LOVE, an effort filled with progressive arrangements, soaring vocals, and tough-minded rejoinders on love and living. The title track is a slinky, clarinet-led funk jam that recalls some of Stevie Wonder’s most ambitious arrangements.

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

Tracks
A1.  Share My Love 6:45
A2.  Why Can’t You Be Mine 3:25
A3.  Try Love 5:00
A4.  Tin Can People 2:30
B1.  Oh Baby 3:30
B2.  Old Love, New Love 4:15
B3.  So Tired (Of The Way You’re Treating Our Love Baby) 4:20
B4.  Baby Don’tcha Know (I’m Bleeding For You) 3:10
B5.  What Did I Do To Lose You 3:05

Let’s check Dusty Groove review : A heavy heavy set from Gloria Jones -a record that features some killer Paul Riser arrangements that are right up there with the deepest Motown work of the early 70s! Jones’ groove is always a bit different than most of her contemporaries - not the usual Motown bag, and really far-reaching for the label - heavy funk one minute, more sophisticated the next - and almost pointing the way towards her later association with T Rex, and Gloria’s time in the UK. Riser really pushes himself strongly here - backing Gloria with full strings on some tracks, soaring in the trademark upbeat Riser groove - then dropping into heavier rhythms at other points, with complicated elements that make the album a treasure trove of fresh surprises with each new track!

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A small bio from All Music Guide :  When the name of Gloria Jones comes up in rocktalk, it’s usually as a trivia question. Firstly, in the mid-’60s she recorded the original version of “Tainted Love,” which was covered by Soft Cell for a huge international hit in 1982. She was also the girlfriend of British glam rocker Marc Bolan, in addition to singing and playing keyboards in his T. Rex band. Her considerable talent as as a soul singer gets lost in the shuffle, especially because few of her recordings are currently available.

Jones earns a spot in rock history on the merits of “Tainted Love” alone. This propulsive mid-’60s soul stomper, wholly dissimilar to Soft Cell’s wimpy synth-pop cover, is one of the great ’60s hits that never was. “Heartbeat” was another throbbing near-miss, recorded with, oddly enough, producer Ed Cobb, who was more renowned for his work with garage-pop groups like the Standells and the Chocolate Watch Band. Both “Heartbeat” and “Tainted Love” were written by Cobb as well, although Jones was not without songwriting talent, co-writing Marvin Gaye and Diana Ross’ 1974 hit duet, “My Mistake.” Jones never had more than regional success, and (like several other minor American soul singers) moved to Great Britain, where the cultish devotion of Northern Soul fans ensured regular work.

In 1974, Jones joined T. Rex (which by that time was fading rapidly) as a keyboardist and backing vocalist. Becoming romantically involved with the singer, she also helped sway him into a more soul/dance-oriented direction. Bolan in turn helped her out on her solo album Vixen, playing guitar and writing songs. After having a child, their time together came to a tragic end when Bolan was killed in a car accident in 1977, with Jones at the wheel.

Check full biography, discography and more on Wikipedia
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“Share My Love” on CD   -  Reel Music

Thanks to Paul Williams and Reel Music (see here) finally this gem has been released on CD for the first time. This edition features a special bonus with the inclusion of Gloria’s original demo of “If I Were Your Woman”, co-written with Pam Sawyer and a huge hit for Gladys Knight & The Pips. Packaged with 16 page full colour booklet featuring essays by Rolan Bolan and A. Scott Galloway, who interviewed Gloria exclusively for this release. Also features special contributions from Pam Sawyer and Janie Bradford. Certainly a must have!!! Get yourself a copy for $10.99 here.  Furthermore do not miss the forthcoming release on Reel Music : Gloria Scott’s  “What Am I Gonna Do” one of my all time favourite albums.

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Easily the masterpiece of their catalogue.

This breakthrough album marked The Dells transition from their doo-woop roots to contemporary soul. It features the long version of their classic balland ‘Stay in My Corner”, as well as the upbeat “There Is”, which was one of their biggest hits. Produced by Bobby Miller and arranged by Charles Stepney, this excellent album is classic Chicago harmony from start to finish.

The Dells are one of the finest and longest-lived R&B vocal groups in history, and what’s most amazing is that they’ve done it with nearly all the same members - they haven’t changed personnel since 1960. They were one of the very few doo wop outfits to successfully update their sound, finding their strongest commercial niche in the late ’60s and ’70s as a polished smooth soul harmony group. While their chart fortunes have certainly fluctuated over the years, they remained a viable act right up into the ’90s, by which time they had long since achieved legendary status in the R&B community..

Inducted into the Rock And Roll Hall Of Fame in March 2004, the Dells” enduring music is a tribute to their longevity.

This is a @320 CD rip including original vinyl covers.

Tracks
A1  There Is 3:30
A2  Stay in My Corner 6:10
A3  Wear It on Our Face 3:22
A4  Please Don’t Change Me Now 3:25
A5  Show Me 2:30
A6  The Change You Go Thru (For Love) 3:15
B1  (Your Love Keeps Lifting Me) Higher and Higher 2:30
B2  Close Your Eyes 2:57
B3  Run for Cover 3:04
B4  Love Is So Simple 2:48
B5  When I’m in Your Arms 2:45
B6  O-O I Love You 3:17

The Reviews

Fantastic bit of Chicago soul, featuring the Dells at their most mature, banked in amazing arrangements by the great Charles Stepney. There’s a long version of “Stay In My Corner”, plus the great title cut, and two fantastic tracks that have some great John Cage-esque prepared piano on the introduction. Great all the way through, and with loads of good tracks like “Wear It On Our Face”, “Please Don’t Change Me Now”, and “Love Is So Simple” (Dusty Groove).

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The original 1965 version of the song that became a classic hit for them when recorded for Cadet in 1968. This version for the Vee Jay label went to #23 on Billboard’s R&B charts.

Other than their greatest-hits compilations, this by far is the Dells’ finest LP release. Bobby Miller excelled in assembling this strong package. The six-minute-plus “Stay in My Corner” remains a live show staple and R&B classic. Written by Wade Flemons, Bobby Miller, and Barrett “Money” Strong, the epic ballad shattered the belief that pop songs had to be three minutes or less to get airplay; it was a remake of a shorter version by the Dells released on Vee Jay in 1965. Miller uses the idea of the quick hook on “Wear It on Our Face,” the opening rhythms explode like firecrackers on this driving, high-energy singalong. Few realize it, but the Dells cut and released “Your Love Keeps Lifting Me Higher” before Jackie Wilson did. A good remake of “Close Your Eyes,” and the enthralling “Love Is So Simple” proved the guys hadn’t forsaken their doo wop roots. The beautiful “O O I Love You” began the longest run on the charts in the Dells’ history; originally Cadet released it with “There Is” on the flip side, and it went to Number 22 on the R&B charts and to Number 61 on the popcharts. “There Is” followed with a different flip, “Show Me,” and became their biggest pop recording to date, nesting at Number 20. Ironically, the Dells hated “There Is” when Bobby Miller first played it for them, it had a marching beat, and they couldn’t see recording it. Marvin Junior, Johnny Carter, Chuck Barksdale, Verne Allison, and Mickey McGill never sounded better then they do on these 12 tantalizing entries (All Music Guide).
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The Dells Biography and Discography on Wiki.

Buy the import Japan CD and vinyl on Ebay.

Finaly enjoy a live version of “Stay In My Corner”

Download link

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