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- Carl Howard said:
Tight funk! Outlandish clothes! No lip syncing! Massive afros (except that one...
14 hours 36 minutes ago
- PAUL CASSELLA said:
this is the supper smooth sounds of disco R and B, of its time. you can feel the tom bell...
21 hours 0 minutes ago
- Gordon said:
Βeautiful love this one. classic!
1 day 6 hours ago
- Nikos said:
Links are ok. just checked both of them.
1 day 21 hours ago
- puw said:
Unfortunately, I cannot get to your links. Pls email me if you can, an alternative. Thx
1 day 22 hours ago
- MiLAN said:
Thank you. Joe is a real pioneer of Soul Music. Unforgettable years were the 60′s. Ciao from...
2 days 3 hours ago
- Maxi said:
Downloading now, looking forward to add it to my collection.
3 days 3 hours ago
- Carl Howard said:
visitors, since 2 May 2008
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Tag Archives: I
Rip, posting & additional info's by Nikos The Independents' sophomore album 1973's "Chuck, Helen, Eric, Maurice" featured a personnel change – original member Marvin Yancy replaced by Eric Thomas. While Yancy dropped out of active performing, he continued his working relationship with the group, but this time around in the role of songwriter and producer. Co-produced by Jackson and Yancy, the album seemingly sought to find a balance between past successes and some new directions. While the heavy reliance on ballads certainly served the group well on the debut album (wracking up a series of radio hits), Jackson and Yancy were smart enough to avoid falling into an aural trap with this album. There were still plenty of old school ballads showcasing Chuck Jackson's lead vocals (though Curry was notably absent throughout the set). 'The First Time We Met' and the breezy 'Lucky Fellow' were first rate ballads, easily as …
Review by Soulmakossa Rip, posting & additional info's by Nikos Anyone with a passing interest in soul and R&B surely knows the name Inez Foxx (as in “and Charlie”) via ‘Mockingbird’, a classic in the truest sense of the word that will remembered long after the hit cover by James Taylor (despoiler of old R&B) and Carly Simon is but a greasy stain on the 70’s. They recorded a bunch of great stuff during the early-to-mid 60’s for the Sue and Dynamo labels. Following her musical partnership with brother Charlie, Inez signed with Volt records in 1971 and headed to Memphis to make herself a record. Titled – oddly enough – ‘Inez Foxx at Memphis’ , the disc is chock full of high quality early-70’s soul. In turns funky “You Don’t Want My Love (All You Want Is My Loving)” and deep (her cover of Mitty Collier’s ‘I Had a …
A stone classic from the Isleys – the album that kicked off their successful T-Neck label, and established that mighty Isleys sound that would have such a huge influence in the 70s! The title cut of the set – "It's Your Thing" – is a well-known classic that really sets the tone for the rest of the record – mixing guitar and chunky rhythms into a righteous funky style of soul that was miles away from the Brothers' earlier work on Motown and RCA. And believe it or not, the rest of the record's even better than the title cut – filled with sinister, sexy numbers that bristle with energy that's still heard best here at the point of its creation! Tracks A1 It's Our Thing 2:47 A2 I Know Who You Been Socking It To 2:42 A3 Save Me 3:30 A4 I Turned You On 2:34 A5 I Got …
Exclusively to FMS This is a surprise post indeed. How many of you ever listen to Ila Vann? Her “Can't Help Lovin' Dat Man” can be found to a few Northen Soul collections. We feel extremely lucky that we have so many dedicated followers and Billy, a friend of ila’s kindly shares with us most of her 45’s. This is a private collection as ila never had an album released except those 45’s. Ila Vann is the kind of performer you never forget, bubbling with energy and full of life, she has been performing since her mother brought her on tour with legend Mahalia Jackson. Born in New Jersey, USA, Ila started her singing career as a child. She eventually found her way to radio and signed a recording contract with the pop music label Liberty Records. Ila hit Broadway in 1972 in the musical Inner City. She later toured …
One of the lesser-known harmony groups to come out of the mid 70s, but still a very nice one, with a Chicago take on the genre . The group were protégés ofEddie Thomas, who had earlier success with other Chicago groups — but despite all the Chicago connections, The Individuals remind us a lot more of some of the sweet falsetto Philly and New Jersey groups of their era, with a strong talent for handling ballads and mid-tempo groovers equally. The whole album’s great, and it includes the long version of the group’s ballad classic “Together”, we can make something happen”. Tracks A1 Try It Again 2:41 A2 Never Too Late 3:55 A3 I Want You For Myself 3:41 A4 Girl Oh Girl 2:49 A5 Sorry Sorry 2:50 B1 Together (We Can Make Something Happen) 6:57 B2 Why Can’t We Be Together 3:02 B3 I Love The Way You Move …
The credit of this post goes 100% to Trakbuv. He had the idea to send me a link of his LP which is special to him and here the introduction of his mail to me : “I REALLY REALLY enjoyed writing this – I have taken an actual interview article (everything in “” is genuine) with the band promoting this particular LP, and added my own words as the fictitious Dwight Debussy.And those 2 ballads are so special to me – I can remember the day vividly I heard them on the radio, sat all on my own on a Saturday morning about 1am, everyone else having gone to bed.These moments can’t be described !!” This is a @320 vinyl rip of the original Power Exchange LP including covers. Tracks A1 Who’s Gonna Love Me (5:09) A2 You Better Take Time To Love (5:27) A3 Where You Gonna Find Somebody …
Curtis is easily and rightly recognized as one of the principal architects of soul music. He developed such distinctive styles out of his gospel backgrounds, that in turn contributed greatly to the shaping of black music in general, both acting as a member of The Impressions and later running his own solo career. The Impressions – 1968 – We’re A Winner A new level of pride and power for The Impressions as you might guess from the bold statement of the title track! It may seem hard to believe from the perspective of the 21st Century, but back in the mid 60s, a message like “We’re A Winner” was quite a strong one — a new anthem of righteous identity that was one of the first truly political statements from a young Curtis Mayfield, and a great precursor of the genius to come in the 70s! But even at this …
A legendary soul album of the 60’s. The unrivaled Soul Queen of New Orleans. Take A Look at Irma Thomas and you’ll be taking a look at an outstanding talent. [[Irma Thomas]] is in that special category of recording artists who knows what the word interpretation means. She is able to take lyric and melodies, some of which are written by her, and give full vibrancy and feeling to their meaning. On Wish That Someone Would Care, Irma‘s in excellent form alongside some killer arrangements from HB Barnum all in a groove that takes New Orleans roots and mixes them with a greater sense of power and majesty an approach that’s a bit like some of Solomon Burke’s work over at Atlantic Records at the time, but with an obvious female soul spin overall. Barnum’s tight arrangements also open up Irma‘s sound in a way that some other arrangers could …
Luther Ingram’s Week continues with his rare debut on koko label, 2nd contribution from Groovy Emmanuel. Luther, one of the greatest talents of his generation first got his start doing rougher, more fragile soul tunes but by the time of these 70s recordings, he’d really found his voice and hit a more confident, more sensuous style that could easily go head to head with Al Green or any of his southern soul contemporaries. There’s a key Stax connection to most of the material here, but the sound’s a bit different too thanks to the production efforts of Koko label head Johnny Baylor, who gives Ingram a sound that’s nicely apart from the pack. This is a @320 vinyl rip of the original Koko Records inluding covers. Tracks A1. Ain’t That Loving You (For More Reasons Than One) 4.07 A2. You Were Made For Me 3.57 A3. Oh Baby, You Can …
This is Luther Ingram’s week brothers as you have requested it! But first, let me say a few words how we’ve come here. I met Groovy Emmanuel through the comment section of this blog. His comments were of the most vital and interesting ever posted to this blog since its opening in May 2008, comments that, in my opinion, point out a deep knowledge of black music in general. Having an almost daily communication with him since then, Groovy Emmanuel suggested and I gladly agreed to send me some vinyl albums out of his collection so I can post them. And here we start with two of Luther Ingram’s Koko releases we’re going to post this week. First the 1972 classic “(If Loving You Is Wrong) I Don’t Want To Be Right”. I also asked Groovy Emmanuel to look after the reviews, and here we go brothers with his own …
A new week and the weather is getting warmer, so let’s change the mood and the music style. Let’s cheer up and dance. While I was ripping this, I couldn’t stop dancing. Brothers this is Inner life’s debut album. Inner Life spawned a handful of amazing disco singles and three accomplished LPs that have remained as powerful as they day they were recorded. Not so much a group as a shifting unit of closely connected producers and musicians, the most significant constant of the group was the presence of Jocelyn Brown, a vocalist who can logically be referred to as the Queen of Disco. Throughout Inner Life’s existence, the work of several luminaries graced the group’s recordings. Patrick Adams, Leroy Burgess, Greg Carmichael, Stan Lucas, Bob Blank, Tee Scott, and Larry Levan each played significant roles in Inner Life’s output. This is a @320 vinyl rip of my original 1979 …
The quintessential Chicago soul group, the Impressions’ place in R&B history would be secure if they’d done nothing but launch the careers of soul legends Jerry Butler – Curtis Mayfield and Leroy Hutson. But far more than that, the Impressions recorded some of the most distinctive vocal-group R&B of the ’60s under Mayfield’s guidance. Their style was marked by airy, feather-light harmonies and Mayfield’s influentially sparse guitar work, plus, at times, understated Latin rhythms. If their sound was sweet and lilting, it remained richly soulful thanks to the group’s firm grounding in gospel tradition; they popularized the three-part vocal trade-offs common in gospel but rare in R&B at the time, and recorded their fair share of songs with spiritual themes, both subtle and overt. Furthermore, Mayfield’s interest in the civil rights movement led to some of the first socially conscious R&B songs ever recorded, and his messages grew more explicit …