Jimmy Castor E Man Groovin Rar

Another timeless classic in the Castor catalogue. The beautifully up-tempo love song “Everything is Beautiful to Me”, the hip and sexy “Dracula” and the funk drenched title track keep Castor’s groove continuous from track to track. The futuristic “Space Age” is just another example of Castor being decades ahead of his time.

“I Don’t Want to Lose You” is a gem.This is a nice @320 vinyl rip from my original lp.Label: AtlanticCatalog#: SD 18186Format: Vinyl, LPCountry: USReleased: 1976Genre: Funk / SoulStyle: FunkCredits: Arranged By - Gerry Thomas (tracks: A1 to A3, B1 to B3), Jimmy Castor (tracks: A1, A3 to B4)Producer - Jimmy Castor, John Pruitt. The Jimmy Castor Bunch scored with a few novelty hits and sought to continue the trend with this well-rounded LP, but the trend had passed and this good production failed to reach its projected sales. The novelty special on this one, 'Dracula,' isn't up to the standards of past nonsensical efforts like 'Leroy! Your Mama's Calling.' This is unfortunate because the other jams, particularly the ballads and midtempo numbers, are marvelous executions of funk/jazz. A remake of the Spinners' 'I Don't Want to Lose You' features a crying sax and emotive vocals; the midtempo numbers — 'Space Age,' 'Mellow Groove,' and 'Everything Is Beautiful' — are creditable and instantly likable. Groovy stuff.

A master of novelty/disco funk, saxophonist Jimmy Castor started as a doo wop singer in New York. He wrote and recorded 'I Promise to Remember' for Wing With the Juniors in 1956, a group whose roster included Al Casey, Jr., Orton Graves, and Johnny Williams. Castor replaced Frankie Lymon in the Teenagers in 1957 before switching to sax in 1960. He appeared on several soul-jazz and Afro-Latin sessions and had a solo hit with 'Hey Leroy, Your Mama's Callin' You' on Smash in 1966. Castor also played sax on Dave 'Baby' Cortez's hit 'Rinky Dink.' He formed the Jimmy Castor Bunch in 1972 and signed with RCA. Their first release, It's Just Begun(one of the most sampled records), launched Castor's next phase with the song 'Troglodyte (Cave Man).'

It was a Top Ten R&B and pop smash. Castor continued the trend in 1975 with 'The Bertha Butt Boogie' and later recorded 'E-Man Boogie,' 'King Kong,' 'Bom Bom,' and 'Amazon.' The Castor band included keyboardist/trumpeter Gerry Thomas, bassist Doug Gibson, guitarist Harry Jensen, conga player Lenny Fridle, Jr., and drummer Bobby Manigault.

Thomas left to join the Fatback band. Castor recorded as a solo performer from 1976 until 1988. He had one of his bigger hits in many years with a 1988 revival of 'Love Makes a Woman,' which paired him with disco diva Joyce Sims. Castor had his own label, Long Distance, in the '80s.

This is @320 rip from my original volt lp. Extremely rare, never issued on cd.Just seven singles and two LP's made Darrell Banks a revered figure among Northern and deep soul fans alike. 'Open the door to your heart' of course was his claim to fame on the mainstream of soul music - a #2 R&B hit. But his first four Revilot and Atco singles, contained in his Atco LP, were all (A or B sides) - Northern Soul timeless gems: 'Our love is in the pocket', 'Somebody somewhere needs you', 'I've got that feelin' and Angel baby (don't you ever leave me)'. The Volt stuff on the other hand contains some of the deepest soul ever recorded, a winning combination of Detroit and Memphis styles, supervised by Don Davis.

'Forgive me', 'Just because your love is gone', 'Don't know what to do', 'Beautiful feeling', 'I could never hate her' - what an album.Here To Stay - Volt 6002. 1969TracksA1. Just because your love is goneA2.

Forgive meA3. Only the strong surviveA4. Don't know what to doA5. When a man loves a womanA6. We'll get overB1. Beautiful feelingB2. I could never hate herB3.

Never aloneB4. No one blinder (than a man who won't see)B5.

My love is reservedDon Davis had been working with Memphis based Stax records for eighteen months when he met up again with Darrell. Don produced the 'Here to stay' album in United Sound.

It was arranged by Rudy Robinson and Bert Keyes and engineered by Ed Wolfrum, Ron Capone and Don himself. Amongst the songwriters on display were the famous 'We Three' from Memphis; Raymond Jackson, Bettye Crutcher and Homer Banks.

Detroiters also featured and several songs were included from both Steve Mancha and Brothers of Soul members Fred Bridges and Richard Knight. So the stage was set for a great album and it certainly was, gaining release on Stax subsidiary Volt. Sadly, despite the quality of the material, chart action was non-existent. Tragically Darrell Banks was shot to death in 1970. As with Sam Cooke and Otis, there's that big question of what would he have done had he lived, and what wonderful music we were robbed of.According to Peter Guralnick’s definitive volume, Sweet Soul Music, Davis had been hired by Memphis’ legendary Stax label to produce Detroit-sounding records. Davis produced the Banks album Here to Stay.Released in 1969, the record blended Stax horns and Detroit groove beautifully, topped with Banks’ C.L.

Franklin-meets-Don Covay vocals.The LP was done at United Sound Studios and the musicians were largely Detroiters. The songs “I Could Never Hate Her,” “Don’t Know What to Do” and “Just Because Your Love Is Gone” evoke the precarious hazy-eyed beauty of a Sunday morning. Despite no radio hits, the disc was masterful, a stunning window into the genre-defining work that Banks was beginning to produce. Sadly, the man’s upward trajectory ended in a flash.Grap this rare gem hereYour feedback is appreciated. We need to feel that we’re not doing it for nothing. Warners Bros LP BS2654Side oneA1.

It Ain't Easy (Ry Cooder: electric guitar)A2. Sing With The Children (Ry Cooder: electric bottleneck guitar)A3. Sister AngelaA4. Not At All (Ry Cooder: electric bottleneck guitar)A5. Casey JonesSide twoB1. Going DownB2. From A Whisper To A ScreamB3.

Everything I Do Gonna Be FunkyB4. What'd I Do WrongB5. Going Down (reprise)Produced by: Ian Samwell (tracks 1-5), Allen Toussaint (tracks 6-10)Musicians (tracks 1-5)Ry Cooder - electric bottleneck guitar, electric guitar (where shown), John Craviotto - drumsJim Dickinson - piano, guitar, Charles Grimes - guitar, Milt Holland - percussionTommy McClure - bass guitar, Mike Utley - hammond organMusicians (tracks 6-10)Arthur Adams - guitar, Harold Battiste, Jr. alto sax, Tessie Calderon - congasGene Cipriano - baritone sax, Marlin Greene - guitar, Paul Hubinon - trumpetDick Hyde - trombone, Jim Keltner - drums, Rick Littlefield - guitarWarren Luening, Jr. trumpet, Lew McReary - trombone, Don Menza - tenor sax, fluteSpooner Oldham - electric piano, Chuck Rainey - bass guitar, William Smith - hammond organ,Allen Toussaint - piano1Claudia Lennear should have been huge!

She had a great pedigree that was a publicists dream ( Ikette, One of Leon Russell's Shelter People and Jagger wrote Brown Sugar about her). Warner Brothers threw lots of money at this album, top session players, gate fold sleeve, very sexy photo inside. The album is split into two halves. The first side is the 'Rock' side with definite Stones vibe with Ry Cooder, Mike Utley, Milt Holland and Jim Dickinson all putting their talents into the mix; the second side is a suite of four (minor) Allain Toussaint songs with the great man in charge of musical direction and on piano, and another set of top sessioner's at work.

They all work their up a fine funky sound, but unfortunately CL bottled it. This is most peculiar singing style, she can start a line as if she is going to go all out for it only to pull out. If Chaka Khan or Tina Turner had had the vocal duties then this could have been huge, unfortunately, it is just average.

I was fortunate to get a press release in my copy. In it Claudia tell the world that 'It's a whole different feeling being in the spotlight instead of hidden in a chorus of nine people. I like it, but I'm just beginning to discover who the real Claudia Lennear is, myself' It would seem that she wasn't comfortable in front, as this is the only album she ever got the chance to make.2It was only a couple of weeks ago that while saying Thanx for a cool Grant Green album in comments that I made my humble request through a Merlot haze for this long lost solo effort from 1973.I remember always seeing and drooling over this gorgeous album cover in the cut out bins at Virgin Records, but as Prog and Kraut was my main tastes back in the day the funk had yet to creep into my soul. It was only recently while listening to a rare funk soul comp that had the track 'Everything I Do Gonna Be Funky' on it did I put 2 & 2 together Doh!!!!That in turn started the quest to track it down and ended up where we are today. The danger has always been that you start to crave hearing the album so much that you build it into a masterpiece of proportions so high that by the time you actually track it down and get to play it you are left disappointed!!! After playing it twice here's what I think. The first thing I noticed was Ry Cooder's guitar is pure Keef riffage on the opening track, now that has to be good right?

Shame that Claudia seems a bit uninvolved and that her vocal could be stronger cause I know she can belt it out anytime she needs to, Also the song seemed very familiar then it clicked this is the Ron Davies track that David Bowie covered and made his own on ZIGGY STARDUST, She sang back up on Davies 2nd Album U.F.O. From 1971.Track two is also a Ron Davies song and from where I stand the rest of side 1 is just going through the motions soul by numbers vocally and the songs aren’t that memorable, Jimmy Miller could have done wonders with these musicians me thinks. Not a bad first side but just not that great and I agree with Nikos when he said average.Side two is a different story altogether, Now we're talking the funk.

Allen Toussaint's production has a nice open live feel and Miss Lennear seems more at home dressed in the squelchy wah wah guitar funky bass and brass he envelopes her in. This is more like it, in fact I would suggest renumber Nikos tracks and put the 2nd side long track first followed by side one tracks and you will enjoy the album a lot more, in the days of vinyl I would have had side 2 on first every time.

Not the funk masterpiece I had always hoped it would be but a fine album for the Funk Blog Downloads Folder on the PC. Anyone wanting to hear more should check out in no particular order.Ike & Tina TurnerHumble Pie - Rock on, Leon Russell - Leon Russell (Claudia and Kathi McDonald)Joe Cocker - Mad Dogs & Englishmen, Ron Davies - U.F.O.The Dependables - Klatu Berrada Niktu 1971, Gene Clarke - No Otherand countless other sessions too many to mention (Kundalini69)NoteSide two is a suite with no gap among the songs. So i give two opportunities. The whole album with the songs split (the best way i could) and side two as one song (suite) as Allen Toussaint probably wanted.Get it hereLet's see your replies brothers. Where has Terry Callier been all of our lives? Outside of the lucky few collectors fortunate enough to possess copies of his 1968 debut The New Folk Sound of Terry Callier and the series of brilliant records he cut for the Cadet label during the mid-1970s, the Chicago singer/songwriter has otherwise slipped through the cracks of contemporary music; his resurrection has been a long time in coming, and Timepeace is indeed well worth the wait.

Long ago tagged with the label 'folk-jazz,' Callier's music eludes easy description; cosmic and spiritual, it also bears the influence of gospel and soul, yet synthesizes its disparate elements in unprecedented and breathtaking ways. Sparked by Callier's spiralling guitar leads, highlights like 'Lazarus Man' and 'Java Sparrow' seem to tap a higher consciousness, his yearning vocals channeling unfathomable power; the stark opener 'Ride Suite Ride' matches the grace of Curtis Mayfield with the poignancy of Nick Drake, while 'Coyote Moon' captures an ethereal yet pastoral beauty best likened to extraterrestrial country music. It's wonderful to have Callier back again — we need him now more than ever.

Natalie Heath (Assistant Engineer), Patricia Lie (Design),Mo Morgen (Illustrations), Sam Harris (Photography), Tom Terrell (Liner Notes),Biography by Jason AnkenyFor far too long, folk-jazz mystic Terry Callier was the exclusive province of a fierce but small cult following; a singer/songwriter whose cathartic, deeply spiritual music defied simple genre categorization, he went all but unknown for decades, finally beginning to earn the recognition long due him after his rediscovery during the early '90s. Born in Chicago's North Side May 24, 1945 —signed on with his boyhood friend also home to Curtis Mayfield, Jerry Butler, and Ramsey Lewis — and raised in the area of the notorious Cabrini Green housing projects, Callier began studying the piano at the age of three, writing his first songs at the age of 11, and regularly singing in doo wop groups throughout his formative years.

While attending college, he learned to play guitar, eventually setting up residency at a Chicago coffeehouse dubbed the Fickle Pickle and in time coming to the attention of Chess Records arranger Charles Stepney, who produced Callier's debut single 'Look at Me Now' in 1962. In 1964, Callier met Prestige label producer Samuel Charters, and a year later they entered the studio to record his full-length bow The New Folk Sound of Terry Callier; upon completion of the session, however, Charters traveled to Mexico with the master tapes in tow, and the album went unreleased before finally appearing to little fanfare in 1968. Undaunted, Callier remained a fixture of the Windy City club scene, and in 1970 he and partner Larry WadeJerry Butler's Chicago Songwriters Workshop.

There they composed material for local labels including Chess and Cadet, most notably authoring the Dells' 1972 smash 'The Love We Had Stays on My Mind.' The song's success again teamed Callier with Stepney, now a producer at Cadet, and yielded 1973's Occasional Rain, a beautiful fusion of folk and jazz textures which laid the groundwork for the sound further explored on the following year's What Color Is Love?

Despite earning strong critical notices and building up a devoted fan base throughout much of urban America, Callier failed to break through commercially, and after 1975's I Just Can't Help Myself he was dropped by Cadet; in 1976, he also suffered another setback when Butler closed the Songwriters Workshop. Upon signing to Elektra's Jazz Fusion imprint at the behest of label head Don Mizell, Callier resurfaced in 1978 with the lushly orchestrated Fire on Ice; with the follow-up, 1979's Turn You to Love, he finally cracked the pop charts with the single 'Sign of the Times,' best known as the longtime theme for legendary WBLS-FM disc jockey Frankie Crocker. He even appeared at the Montreux Jazz Festival. However, when Mizell exited Elektra, Callier was quickly dropped from his contract; after a few more years of diligent touring, he largely disappeared from music around during the early '80s; a single parent, he instead accepted a job as a computer programmer, returning to college during the evenings to pursue a degree in sociology. Despite essentially retiring from performing, Callier continued composing songs, and in 1991 he received a surprise telephone call from fan Eddie Pillar, the head of the U.K.

Label Acid Jazz. Pillar sought permission to re-release Callier's little-known, self-funded single from 1983, 'I Don't Want to See Myself (Without You)'; seemingly overnight, the record became a massive success on the British club circuit, and the singer was soon flown to Britain for a pair of enormously well-received club dates. In the coming months, more gigs followed on both sides of the Atlantic, and in 1996, Callier even recorded a live LP, TC in DC. In 1997, he teamed with British singer Beth Orton, another of his most vocal supporters, to record a pair of tracks for her superb EP Best Bit; the following year, Callier also released his Verve Forecast debut Timepeace, his first major-label effort in close to two decades. Lifetime followed in 1999, and two years later came Alive, recorded live at London's Jazz Cafe. Callier returned in 2002 with Speak Your PeaceLookin' Out. CTI 7-5005Funky spaciness from one of the 70's best arrangers!

The set's a largeish orchestral work dedicated to Dune and other sci-fi books and films. Sounds goofy, but it's pretty darn great - and Dave Matthews takes his work with James Brown and makes the whole thing come out pretty darn funky. Classically trained Detroit arranger Dale Warren got his start with the famed Motown label and, from the late '60s throughout the early '70s, composed the majority of string scores for soul artists on Stax Records (arranging for such artists as Billy Eckstine, Eddie Floyd, Isaac Hayes, Albert King, and the Staple Singers, among others).

During this time, Warren befriended an up-and-coming Cincinnati soul outfit called the Ditalians. After he convinced them to change their name to 24-Carat Black, he took them under his wing - both composing and producing their lone album, 1973's Ghetto: Misfortune's Wealth, a conceptual work that focused on life in the inner city. The album went unnoticed and fell through the cracks shortly thereafter, as 24-Carat Black never issued any other recordings.

But over the years, Ghetto: Misfortune's Wealth became a sort of cult classic among hip-hop artists, as such acts as Heal, Young Disciples, and Digable Planets used samples from the album for their own tracks. Long out of print, Ghetto: Misfortune's Wealth was finally issued on CD in 1995. The members of 24-Carat Black would later turn up in the group Shotgun.

This album is quite hard to track down, but well worth it.It isn't the most upbeat of records, detailing the harshness of ghetto life in America during the seventies, but the sheer quality of the music makes it an album you'll find listening to time and again.The (numerous) musicians never worked together again, which makes this album a brief example of what might have been.Standout tracks are 'Brown-Baggin' and 'Foodstamps' but the whole album is a stunning example of more chilled and darker funk. A one-off concept album that's a big fat soul-RnB gem. There's 25 people on the personnel list, of which over 1/3 form a string section, so it has that wonderfully full sound. The album's concept is inner city struggle which gives it a political and serious feel, the whole thing feels quite dark.Fans of the early-70s socio-concious works by Curtis Mayfield and Marvin Gaye, fans of the musical waves of Herbie Hancock or Isaac Hayes, or fans of funk-based hip hop should each be able to latch onto Ghetto: Misfortune's Wealth with keen interest. One of the lat great classics fron the Stax vaults, a tragedy on & off the disc.

This was the brain child of in-house producer Dale Warren- who did orchestration for Isaac Hayes- and the music is very much in the same style of Hayes, but lyrically with the theme of 70's social strife & deprivation running through the album (kind of a soul concept album), the mood of the album is sometimes almost hard to listen to given the subject, even more so when you find out about about the fate of Dale Warren & his young protege singers (they would never again appear on vinyl), but the beauty of the music lifts it above melancholy nearly to the heights of 'masterpiece'. Although he has only released one album of new material in the last ten years, and has virtually retired from the live stage after his 1985 tour, Linton Kwesi Johnson remains a towering figure in reggae music. Born in Kingston, Jamaica and raised in the Brixton section of London, Johnson invented dub poetry, a type of toasting descended from the DJ stylings of U-Roy and I-Roy. But whereas toasting tended to be hyperkinetic and given to fits of braggadocio, Johnson's poetry (which is what it was - he was a published poet and journalist before he performed with a band) was more scripted and delivered in a more languid, slangy, streetwise style. Johnson's grim realism and tales of racism in an England governed by Tories was scathingly critical.

The Afro-Brits in Johnson's poems are neglected by the government and persecuted by the police. Johnson was also instrumental (with his friend Darcus Howe) in the publication of a socialist-oriented London-based newspaper, Race Today, that offered him and other like-minded Britons both black and white an outlet to discuss the racial issues that, under Margaret Thatcher's reign, seemed to be tearing the country apart. For one so outspoken in his politics, Johnson's recorded work, while politically explicit, is not simply a series of slogans or tuneful/danceable jeremiads. In fact, is was his second release, Forces of Victory, where his mix of politics and music united to stunning effect.

Dennis Bovell and the Dub Band could swing (as in jazzy) more than many reggae bands, and guitarist John Kpiaye, the group's secret weapon, offered deftly played, dazzlingly melodic solos. But it was Johnson's moving poetry, galvanizing moments such as 'Sonny's Lettah' and 'Fite Dem Back' that made it obvious that this was a major talent. Although he never intended to, Johnson became a star, in England anyway; in America he had a small yet devoted group of fans. But political activism was as important, perhaps more important, than churning out records and touring, and after the release of his third album, Bass Culture, in 1980, Johnson took time off from the music scene, turning his back on a lucrative contract from Island.

He continued to perform, but it was poetry readings at universities, at festivals in the Caribbean, and for trade union workers in Trinidad. His organizing activities included the setting up the First International Book Fair of Radical Black and Third World Books, and greater involvement with the political organizations with which he had been long identified, namely the Race Today Collective and the Alliance of the Black Parents Movement. In 1982, the BBC commissioned Johnson to create a series of radio programs on Jamaican popular music, a subject he'd been researching for years. The programs, entitled From Mento to Lovers Rock, were more than just musical history; Johnson contextualized Jamaican music socially and politically and offered a more nuanced and thorough examination of the popular music of his native and adopted countries. Johnson returned to the pop music scene in 1984 with perhaps his best record, Making History. Again working with Dennis Bovell, Johnson's seething political anger suffuses this recording, but it is never undone by simple vituperation.

Jimmy Castor E Man Groovin Rar 2017

Johnson is, if anything, a thoughtful radical, more analytical than simplistic, and that adds to the power of these seven songs. Unfortunately, this would be the last new music from Johnson until 1991's Tings an' Times, which proved yet again that regardless of how much time he takes off from music, when LKJ returns it's as if he's never missed a beat. His most recent period of recording silence has been broken by the release of a music-less poetry album. If Dread Beat An' Blood brought Johnson and initial flush of notoriety, then Forces of Victory was the record that cemented his growing reputation as a major talent. Bovell and the Dub Band swing hard on this set, especially on the album's opening track 'Want Fi Goh Rave.'

This contains some of Johnson's most memorable songs/poems, such as the heartfelt prison saga 'Sonny's Lettah' and the confrontational 'Fite Dem Back,' which he delivers in his trademark sing-song Jamaican patois. Dramatic and intense to the point of claustrophobia,Forces of Victory is not simply one of the most important reggae records of its time, it's one of the most important reggae records ever recorded.source: all music guideDownload It Here. This is the third album release for the Oakland-based band and is their most successful album to date, which was released in the Spring of 1973. The album peaked at #15 on the Billboard Pop Album chart in 1973 and received a gold record award.

The Album also spawned their most-successful single 'So Very Hard To Go'. Although the single only peaked at #17 on the Billboard Hot 100, landed in the Top 10 on the surveys of many West Coast Top 40 radio stations; hitting #1 on most of them.

The Album also charted two other singles on the Billboard Hot 100, 'This Time It's Real' and 'What Is Hip?' Track listing1. Get Yo' Feet Back On The Ground – 4:523. So Very Hard To Go – 3:414. Soul Vaccination – 5:135. Clean Slate – 3:226.

Clever Girl – 2:567. This Time It's Real – 2:548. Will I Ever Find A Love? Both Sorry Over Nothin' – 3:2510. Uptempo soul and funky southern grooves - a beautifully-chosen batch of tracks from the legendary SSS family of labels - and one that stands as a nice contrast to some of the other collections of work from the company's late 60s roster! SSS is probably most famously known as home to some great ballad and pop soul material from the south, but the company also had a great run of funky 45s during the same stretch - singles that kicked up the groove a few more notches, and came off with a rough edge and plenty of grit in the mix!

There's a deep deep sound here all the way through - making the package a non-stop romp through some plenty great music pulled from labels that include SSS International, Silver Fox, Exit, and Honor Brigade. The SSS International soul records aren't as well remembered as the records released on more prolific high profile labels like Stax/Volt, so it's a great place to dig up more obscure soul recordings. Other labels that fit under the SSS International umbrella included here are the Silver Fox (another Shelby Singleton label co-run by Lelan Rogers, who had previously run the Texas-based International Artists label with releases from the 13th Floor Elevators, the Red Krayola, and the Bubble Puppy) Exit, and Honor Brigade labels. A soul vocalist who came from a family of gospel singers, Pat (P.P.) Arnold began singing as a four-year-old. She got her start backing Bobby Day before being invited to join the Ikettes, backing Ike and Tina Turner. Arnold toured with them in the '60s, including one stint with the Rolling Stones. Mick Jagger persuaded her to remain in London, and she later recorded for the Immediate label (then run by the Stones' manager Andrew Loog Oldham).

Loog Oldham, Jagger, and Mike Hurst produced Arnold's debut LP, The First Lady of Immediate, in 1967, which included the single 'The First Cut Is the Deepest,' which was written by Cat Stevens and later popularized by Rod Stewart. Arnold also had moderate success with the singles 'The Time Has Come,' '(If You Think) You're Groovy,' and 'Angel in the Morning' in the late '60s, though they were hits in England and Europe rather than America. Arnold was part of the cast for the play Catch My Soul in 1969, and subsequently acted in the television shows Fame and Knots Landing, plus Andrew Lloyd Webber's Starlight Express.

Arnold re-entered the music world in the mid-'80s. She sang lead on a Boy George song for the film Electric Dreams in 1984 while on 10 Records. She worked with Dexter Wansel and Loose Ends on the single 'A Little Pain,' which she recorded as Pat Arnold. She then had another English hit with the single 'Burn It Up' on the Rhythm King label. The Beatmasters later produced her song 'Dynamite.' Allmusic.comA CD with a great collection of songs from P.P.

ArnoldTrack list;01 - (If You Think You're) Groovy02 - Something Beautiful Happened03 - Born To Be Together04 - Am I Still Dreaming05 - Though It Hurts Me Badly06 - The First Cut Is The Deepest07 - Everything Is Gonna Be Alright08 - Treat Me Like A Lady09 - Would You Believe10 - Life Is But Nothing11 - Speak To Me12 - The Time Has Come13 - Letter To Bill14 - Kafunta One15 - God Only Knows16 - Eleanor Rigby17 - Yesterday18 - Angel Of The Morning19 - It'll Never Happen Again20 - As Tears Go By21 - To Love Somebody22 - Dreamin'23 - Welcome HomeStyle; Soul, Uptown Soul. Format: Vinyl, LPCountry: USReleased: 1973Genre: Funk / SoulStyle: SoulArranged By - H.B. BarnumProducer - Jerry FullerBest remembered for the soul classic 'Show and Tell,' singer Al Wilson was born June 19, 1939 in Meridian, Mississippi. From childhood forward he was singing professionally, and by the age of 12 was leading his own spiritual quartet and singing in the church choir, even performing covers of country and western hits as circumstances dictated. After a two-year military stint, Wilson settled in Los Angeles, touring the local nightclub circuit before joining the R&B vocal group the Jewels; from there he landed with the Rollers, followed by a stint with the instrumental combo the Souls. In 1966, Wilson signed with manager Marc Gordon, who quickly scored his client an a cappella audition for Johnny Rivers - the 'Secret Agent Man' singer not only signed Wilson to his Soul City imprint, but also agreed to produce the sessions that yielded the 1968 R&B smash 'The Snake.'

The minor hit 'Do What You Gotta Do' appeared that same year, but Wilson then largely disappeared from sight until 1973, when he issued the platinum-selling Weighing In - the album's success was spurred by the shimmering 'Show and Tell,' a Johnny Mathis castoff that sold well over a million copies. 1974's 'The La La Peace Song' proved another major hit, and two years later, 'I've Got a Feeling We'll Be Seeing Each Other Again' cracked the R&B Top Three.

With 1979's 'Count the Days' Wilson scored his final chart hit, however, and he spent the next two decades touring clubs and lounges; in 2001 he re-recorded his classic hits for the album Spice of Life. A masterpiece in psychedelic soul from The Temptations - perhaps the most perfectly realized album from their years working with Norman Whitfield!

The set's awash in that bottom-heavy, rumbling funk mode that Whitfield brought to the group at the end of the 60s - served up in bold tracks that push the group's vocals to a whole new level, and which bring in a more righteous sound than anyone might have expected previously from Motown! The centerpiece here is the amazing 'Runaway Child' - a really extended number that has all the political soul of a Curtis Mayfield tune - and other titles include 'Cloud Nine', 'Don't Let Him Take Your Love From Me', 'Love Is A Hurtin Thing', 'I Gotta Find A Way', 'I Need Your Lovin', and 'I Heard It Through the Grapevine'. The Reviews1In Febuary of 1969 the Temptations released Cloud Nine and many people thought what happened to the old Tempts. Well after seeing Sly Stone & the Family Stone having so much success Norman Whitfield in his third album at the helm of the producers chair fo the Tempts decided it was time for change. The first half on the original vinyl version consist of only 3 song which basically carries the whole album. The title track is one of the funkiest songs ever laid to wax with it's wah-wah guitars and the Tempts voices flowing through the sons, but the best song here is the 9 plus minute version of 'Runaway Child Running Wild'. The song will by far blow you away with new lead singer Dennis Edwards dynamic vocal performance.

The rythm arrangement of this song is brilliant and Funk Brothers really get down and dirty on this one. Definitely the funkiest song of the 60's. Side two on the original vinyl is back to business as usual with the Tempts apparently not ready to completly give total control to Whitfields newly refined production style. Overall great album for the first 3 songs on the album which also consist of putting a different twist on a cover version of 'I Heard It Through The Grapevine' which was also done by Gladys Knight & the Pips and Marvin Gaye respectively. Although the second side is mostly ballads there's still stong vocal performances by Eddie Kendricks and Paul Williams, with most of the leads going to Dennis. A must have for soul music lovers and Temptations fans alike.2Best known for their silky soul vocals and smooth-stepping routines, the Temptations were firmly entrenched as the undisputed kings of Barry Gordy's Motown stable when cutting-edge producer Norman Whitfield walked into the studio and announced that it was time to shake things up. The resulting freakout became the first half of the stellar Cloud Nine, an album that would become one of the defining early funk sets, with songs that not only took Motown in a new direction, but helped to shape a genre as well.

On one side and across three jams, Whitfield and the Temptations would give '70s-era funk musicians a broad palette from which to draw inspiration. The title track, with its funky soul bordering on psychedelic frenzy, was an audacious album opener, and surely gave older fans a moment's pause. Only two more songs rounded out side one: an incredibly fresh take on 'I Heard It Through the Grapevine,' which jazzed up the vocals, brought compelling percussion to the fore, and relegated the piano well into the wings, and 'Run Away Child, Running Wild,' an extravagant nine-minute groove where the sonics easily surpassed the vocals. After shaking up the record-buying public with these three masterpieces, the Temptations brought things back to form for side two. Here, their gorgeous vocals dominated slick arrangements across seven tracks which included 'Hey Girl' and the masterful 'I Need Your Lovin'.' Funk continued to percolate — albeit subtly — but compared to side one, it was Temptations business as usual. It was this return to the classic sound, however, which ultimately gave Cloud Nine its odd dynamic.

The dichotomy of form between old and new between sides doesn't allow for a continuous gel. But the brash experimentation away from traditional Motown on the three seminal tracks which open the disc shattered the doorway between past and present as surely as the decade itself imploded and smooth soul gave way to blistering funk. A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar. Like Stanley Turrentine, he tends to be left out of the books. Although he mentions Charlie Christian and Jimmy Raney as influences, Green always claimed he listened to horn players (Charlie Parker and Miles Davis) and not other guitar players, and it shows. No other player has this kind of single-note linearity (he avoids chordal playing). There is very little of the intellectual element in Green's playing, and his technique is always at the service of his music.

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And it is music, plain and simple, that makes Green unique.Green's playing is immediately recognizable — perhaps more than any other guitarist. Green has been almost systematically ignored by jazz buffs with a bent to the cool side, and he has only recently begun to be appreciated for his incredible musicality. Perhaps no guitarist has ever handled standards and ballads with the brilliance of Grant Green. Grant Green's early-'70s recordings for Blue Note are continually attacked by jazz critics for being slick, overly commercial sessions that leaned closer to contemporary pop and R&B than hard bop or soul jazz. There's no denying that Green, like many of his Blue Note contemporaries, did choose a commercial path in the early '70s, but there were some virtues to these records, and Visions in particular. Often, these albums were distinguished by hot, funky workouts in the vein of Sly Stone or James Brown, but that's not the case here. On Visions, the guitarist crafted a set of appealingly melodic, lightly funky pop-jazz, concentrating on pop hits like 'Does Anybody Really Know What Time It Is,' 'Love On a Two Way Street,' 'We've Only Just Begun,' and 'Never Can Say Goodbye.'

Supported by minor-league players, Green nevertheless turns in an elegant and dignified performance — after stating the melody on each song, he contributes typically graceful, memorable solos. Simply put, he sounds fresh, and his playing here is the best it has been since 1965's His Majesty, King Funk. Ultimately, Visions is a bit laid-back, and the electric piano-heavy arrangements are a little dated, but Grant Green never made a commercial pop-jazz album as appealing and satisfying as Visions. Moses Dillard had a dual career in music for more than 20 years, leading his own bands, and as a guitarist working out of Muscle Shoals. Born in Greenville, SC, he put together a touring band of his own, the Dynamic Showmen, before he was 20 and saw some local success. Dillard later teamed up with James Moore in a duo called Moses & Joshua, recording for Don Schroeder's Papa Don Productions out of Pensacola, FL; scoring hits with 'My Elusive Dreams' and 'Get Out of My Heart' on the Mala label in 1966-1967, and 'Soul Symphony' for Coral in 1968. While working for Schroeder, Dillard's guitar virtuosity came to the fore, and he played sessions with most of the company's acts, including James and Bobby Purify during the tail end of their history, and Oscar Toney, Jr.

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And Mighty Sam. His playing can be heard throughout their respective late-'60s outputs, and recording and touring with these and other acts kept Dillard busy until the close of the decade. Dillard returned to Greenville in 1970 to resume his own career and put together the group Tex-Town Display, with a lineup that included Peabo Bryson. Their 1970 recording of 'I've Got to Find a Way' got serious local airplay, enough to get it (and their contract) picked up by Curtom Records for national distribution, selling 250,000 copies. Tex-Town Display earned a follow-up shot with 'Our Love Is True,' which didn't sell nearly as well, and by 1971 the group was recording for the much smaller Shout label of Atlanta, before it broke up after Bryson exited. Dillard continued to be based in Atlanta with his next group, the Lovejoy Orchestra, who had an instrumental hit with a self-titled theme in 1975. The 1970s saw Dillard get an increasing number of opportunities with major labels; he kept busy recording under a multitude of names, including Moses, and Dillard & Johnson in partnership with Lorraine Johnson, the latter act signed to Epic Records.

Dillard had success during the disco era with the Constellation Orchestra, and he later reunited with his one-time Dynamic Showmen bassist/singer Jesse Boyce as Dillard & Boyce, on the Mercury label in the early '80s.