Showing posts with label Blues. Show all posts
Showing posts with label Blues. Show all posts

Wednesday, 23 December 2009

Al Jarreau & Lou Rawls "Soul Men"

Al Jarreau & Lou Rawls

"Soul Men"
( 2xLP K-TEL Records, 1988 )
Catalog # NE 1400


Tracklisting:
01 - Ain't No Sunshine
02 - Lean On Me
03 - Use Me
04 - Kissing My Love
05 - Grandma's Hands
06 - You
07 - Lonely Town, Lonely Street
08 - The Same Love That Made Me Laugh
09 - Sad Song
10 - Trying As Hard As I Can
11 - I Love You, Yes I Do
12 - Season Of The Witch
13 - I Wonder
14 - I Want To Be Loved
15 - Your Good Thing Is About To End
16 - When A Man Loves A Woman

Note:
Great Soul Albums and Titles include Al Jarreau's take on 8 Bill Withers songs.

By Celo

Wednesday, 16 December 2009

Buddy Miles ''Them Changes''

Buddy Miles

''Them Changes''
( LP Mercury Records, 1970 )
Catalog # SR 61280


Tracklisting:
A1 - Them Changes 3:20
A2 - I Still Love You, Anyway 4:13
A3 - Heart's Delight 4:06
A4 - Dreams 4:52
B1 - Down By The River 6:20
B2 - Memphis Train 2:55
B3 - Paul B. Allen, Omaha, Nebraska 5:31
B4 - Your Feeling Is Mine 2:11

Personnel & Credits:
Fred Allen Vocals (bckgr)
Lee Allen & His Band Trumpet, Vocals (bckgr)
Lee Allen Saxophone
Teddy Blandin Trumpet
Fred Breitberg Assistant Engineer
Burnell Caldewell Photography
Peter Carter Trumpet
Billy Cox Bass, Fuzz Bass
John Craig Design Consultant
Steve Cropper Producer
Warren Dewey Engineer
Richard Germinaro Design
Tom T. Hall Trumpet
Tom Hall Trumpet
Marlo Henderson Guitar, Guitar (Electric), Vocals (bckgr)
Alan Hendler Engineer
Duane Hitchings Organ
Bob Hogins Organ, Piano, Trombone, Arranger, Keyboards, Piano (Electric), Vocals (bckgr), Soloist
David Hull Bass, Vocals (bckgr)
Dwayne Hutchings Organ
Charlie Karp Guitar (Acoustic), Guitar, Arranger, Guitar (Electric), Vocals (bckgr), Soloist, Guitar (Leslie)
Andre Lewis Organ, Piano (Electric), Vocals (bckgr), Clavinet, Soloist, Vocal Harmony
Robin McBride Piano, Keyboards, Vocals (bckgr), Producer, Electric Harpsichord
Jim McCarty Guitar
Buddy Miles Bass, Guitar, Arranger, Drums, Keyboards, Vocals, Vocals (bckgr), Producer
Bob Parkins Organ
Gilles Petard Reissue Producer
Robert Pittman Saxophone, Sax (Alto), Sax (Tenor)
Roland Robinson Bass
Wally Rossunolo Guitar, Guitar (Rhythm)
Dean Rudland Liner Notes
Desmond Strobel Art Direction
Bruce Swedien Mixing Engineer
James Tatum Saxophone, Sax (Tenor)
Mark Williams Sax (Tenor), Vocals (bckgr)
Mark Williams Wind
Phil Wood Piano, Flugelhorn, Vocals (bckgr)
Phil Woods Horn
Gérard Woog Supervisor
Toby Wynn Saxophone, Sax (Baritone)

Review:
This 1970 release by former Band of Gypsy's drummer Buddy Miles is, quite simply, one of the great lost treasures of soul inspired rock music. From the funky drive of the title track to Miles' plaintive singing on "I Still Love You, Anyway" and Greg Allman's "Dreams," the album is filled with the best qualities of both genres. Not only does Miles prove himself to be a great interpretor of songs, but with the title track and "Heart's Delight," he demonstrates his ability to write solid material on his own. Complimented by the Memphis Horns, Miles' songs soar and swing as hard as any Stax release, and his voice, underutilized when he played with the Electric Flag and Hendrix, combines the nuance of soul singing with the grit of rock. Them Changes is definately worth the extra effort to try to locate.
By Steve Kurutz (AMG)

By Celo

Buddy Miles Express "Expressway To Your Skull"

Buddy Miles Express

"Expressway To Your Skull"
( LP Mercury Records, 1968 )
Catalog # 134 094 MCY


Tracklisting:
A1 - Train
A2 - Let Your Lovelight Shine
A3 - Don't Mess With Cupid
A4 - Funky Mule
B1 - You're The One (That I Adore)
B2 - Wrap It Up
B3 - Spot On The Wall

Personnel & Credits:
Bass - Bill Rich
Drums - Ron Woods
Engineer - Brian Ingoldsby
Guitar - Jim McCarty
Organ, Saxophone [Tenor] - Herbie Rich
Producer - Lou Reizner
Saxophone [Baritone, Soprano], Flute - Bill McPherson , Virgil Gonsalves
Saxophone [Tenor] - Terrence Clements
Trumpet, Flugelhorn - Marcus Doubleday
Vocals, Drums, Guitar, Organ - Buddy Miles

Review:
Although Buddy Miles' alchemical fusion of psychedelia, blues, and soul did not truly coalesce until his masterpiece Them Changes, his debut LP, Expressway to Your Skull, remains an inspired and original statement of intent, a record that's both timeless and an unmistakable product of counterculture consciousness. Each of the album's seven songs is a fascinating montage of sounds and styles acid-fuzz guitar collides with zig-zagging funk horns, and shrieking keyboards meet juke joint blues riffs head on. Not everything works a cover of Sam & Dave's "Wrap It Up" is more leaden than lively, and the instrumental "Funky Mule" feels like filler but the remaining material is brilliant, its twists and turns navigated by Miles' deeply soulful vocals and monster drumming.
By Jason Ankeny (AMG)

By Celo

Thursday, 10 December 2009

Chris Youlden "City Child"

Chris Youlden

"City Child"
( LP London Records, 1974)


Tracklisting:
01. Conjure Wife (3:41)
02. Born & Raised In The City (4:03)
03. The Morning Light (3:23)
04. Keep Your Lamp Lit (3:31)
05. Little Cog In A Big Wheel (3:56)
06. Peace Of Mind (3:34)
07. Walking The Streets Again (2:32)
08. Spare Change (3:44)
09. Love & Pain (5:52)
10. It Ain't For Real (3:16)

Personnel & Credits:
John Beecham Trombone
Dave Caswell Trumpet
Michael Cotton Trumpet
Rosko Gee Bass
Derek Griffiths Guitar
Suzanne Lynch Vocals
Jack Mills Guitar
Nick Newell Saxophone
Anna Peacock Vocals
Terry Stannard Drums
Pete Wingfield Keyboards
Joy Yates Vocals
Chris Youlden Vocals

Review:
"Chris Youlden" was the former singer of British Blues Band "Savoy Brown" from 1967-70. He went on to make several solo albums and "Citychild" is one of those, which is rather rare. Chris is famous for his top hat, cigar and cool, melodic voice.

By Celo

Friday, 20 November 2009

Johnny Guitar Watson ''Giant''

Johnny Guitar Watson

''Giant''
( LP DJM Records, 1978 )
Catalog # DJM 19



Tracklisting:
A1 Miss Frisco (Queen Of The Disco) 5:00
A2 Tu Jours Amour 4:40
A3 Gangster Of Love 3:45
A4 Guitar Disco 4:14
B1 Wrapped In Black Mink 5:13
B2 You Can Stay But The Noise Must Go 6:07
B3 Baby Face (She Said Do Do Do Do) 4:46
Bonus: ''A Real Mother For Ya'' 5:02

Personnel & Credits:
Arranged By - Johnny Guitar Watson
Backing Vocals - Darcus, Marci Thomas
Drums - Emry Thomas
Engineer - Kerry McNabb
Engineer [Assistant] - Dennis Moody
Guitar, Synthesizer [Moog], Organ, Piano [Fender Rhodes],
Clavinet, Congas, Timbales - Johnny Guitar Watson
Mastered By - John Golden
Producer - Johnny Guitar Watson

Notes:
Recorded at: Paramount Recording Studios, Hollywood, California
Mastered at: Kendun Recorders, Burbank, California
Format:Vinyl, LP
Country:US
Released:1978

Biography:
"Reinvention" could just as easily have been Johnny "Guitar" Watson's middle name. The multi-talented performer parlayed his stunning guitar skills into a vaunted reputation as one of the hottest blues axemen on the West Coast during the 1950s. But that admirable trait wasn't paying the bills as the 1970s rolled in. So he totally changed his image to that of a pimp-styled funkster, enjoying more popularity than ever before for his down-and-dirty R&B smashes "A Real Mother for Ya" and "Superman Lover."
Watson's roots resided within the fertile blues scene of Houston. As a teen, he played with fellow Texas future greats Albert Collins and Johnny Copeland. But he left Houston for Los Angeles when he was only 15 years old. Back then, Watson's main instrument was piano; that's what he played with Chuck Higgins' band when the saxist cut "Motorhead Baby" for Combo in 1952 (Watson also handled vocal duties).
He was listed as Young John Watson when he signed with Federal in 1953. His first sides for the King subsidiary found him still tinkling the ivories, but by 1954, when he dreamed up the absolutely astonishing instrumental "Space Guitar," the youth had switched over to guitar. "Space Guitar" ranks with the greatest achievements of its era -- Watson's blistering rapid-fire attack, done without the aid of a pick, presages futuristic effects that rock guitarists still hadn't mastered another 15 years down the line.
Watson moved over to the Bihari Brothers' RPM label in 1955 and waxed some of the toughest upbeat blues of their time frame (usually under saxist Maxwell Davis's supervision). "Hot Little Mama," "Too Tired," and "Oh Baby" scorched the strings with their blazing attack; "Someone Cares for Me" was a churchy Ray Charles-styled slow-dragger, and "Three Hours Past Midnight" cut bone-deep with its outrageous guitar work and laid-back vocal (Watson's cool phrasing as a singer was scarcely less distinctive than his playing). He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights."
Though he cut a demo version of the tune while at RPM, Watson's first released version of "Gangster of Love" emerged in 1957 on Keen. Singles for Class ("One Kiss"), Goth, Arvee (the rocking introduction "Johnny Guitar"), and Escort preceded a hookup with Johnny Otis at King during the early '60s. He recut "Gangster" for King, reaching a few more listeners this time, and dented the R&B charts again in 1962 with his impassioned, violin-enriched blues ballad "Cuttin' In."
Never content to remain in one stylistic bag for long, Watson landed at Chess just long enough to cut a jazz album in 1964 that placed him back behind the 88s. Along with longtime pal Larry Williams, Watson rocked England in 1965 (their dynamic repartee was captured for posterity by British Decca). Their partnership lasted stateside through several singles and an LP for OKeh; among their achievements as a duo was the first vocal hit on "Mercy, Mercy, Mercy" in 1967 (predating the Buckinghams by a few months).
Little had been heard of this musical chameleon before he returned decked out in funk threads during the mid-'70s. He hit with "I Don't Want to Be a Lone Ranger" for Fantasy before putting together an incredible run at DJM Records paced by "A Real Mother for Ya" in 1977 and an updated "Gangster of Love" the next year.
After a typically clever "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But counting this remarkable performer out was always a mistake. Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk. Sadly, in the midst of a truly heartwarming comeback campaign, Watson passed away while touring Japan in 1996.
By Bill Dahl (AMG)

By Pier

Tuesday, 17 November 2009

Al Green ''Explores Your Mind''

Al Green

''Explores Your Mind''
( LP Hi Records, 1974 )
Catalog #SHL 32087


Tracklisting:
A1 Sha-La-La (Make Me Happy) 2:56
A2 Take Me To The River 3:43
A3 God Blessed Our Love 3:54
A4 The City 3:24
A5 One Nite Stand 2:24
B1 I'm Hooked On You 3:19
B2 Stay With Me Forever 3:12
B3 Hangin' On 4:18
B4 School Days 3:09

Personnel & Credits:
Michael J. Allen Piano
Michael Allen Piano, Rhythm Section
Charles Chalmers Vocals (bckgr), String Arrangements
Sandra Chalmers Vocals (bckgr)
Chris Clough Mastering Supervisor
Howard Craft Mastering
Bill Dahl Liner Notes
Colin Escott Liner Notes, Reissue Producer
Al Green Vocals, Producer, Audio Production
Howard Grimes Bongos, Conga, Drums, Rhythm Section
Jack Hale Trombone, Horn Section
Charles E. Jr. Hodges Organ, Piano
Charles Hodges Organ, Piano
Leroy Hodges Bass, Rhythm Section
Mabon "Teenie" Hodges Guitar, Rhythm Section
Wayne Jackson Trumpet, Horn Section
Richard Kriegler Art Direction, Design
Bob Levy Photography
Ed Logan Horn (Tenor), Sax (Tenor), Horn Section
Andrew Love Horn (Tenor), Sax (Tenor), Horn Section
The Memphis Strings Strings, String Section
James J. Mitchell Sax (Baritone), String Arrangements
James Mitchell Sax (Baritone)
Willie Mitchell Producer, Engineer, Remixing, Audio Production, Audio Engineer
Bob Norberg Remastering
Rhodes, Chalmers & Rhodes Vocals (bckgr)
Alan Robinson Liner Notes
Glenn Ross Art Direction, Design
Archie Turner Piano, Rhythm Section

Review:
By the time of 1974's Al Green Explores Your Mind, this version of the Memphis sound was the production style for only a handful of artists. Producer Willie Mitchell used a lighter touch for his most famous artist, and it's all but crafted into the Al Green sound. Despite his skills, Green never falls into mannerism here and gives heartfelt and cogent vocals rooted in intelligence and technique. "Sha-La-La (Make Me Happy)," although lyrically slight, has the artist's charisma and Mitchell's pop chops. "Take Me to the River," with perfect backing from Hi Rhythm and a horn and string arrangement, finds Green at his most persuasive. The last track, "School Days," has Green longing for a school girlfriend and despite the potentially sappy sentiment, it works like a charm. The greatness of Al Green Explores Your Mind comes from a collective effort, including James Mitchell's dreamlike string arrangements and the always skilled backing vocals of Rhodes, Chalmers & Rhodes. But the biggest draw here is Green's phrasing and intimate vocals, making the record an extremely strong effort.
By Jason Elias (AMG)

By Celo

Al Green "Gets Next To You"

Al Green

"Gets Next To You"
( LP Hi Records, 1971 )
Catalog # SHL 32062


Tracklisting:
A1 I Can't Get Next To You
A2 Are You Lonely For Me Baby
A3 God Is Standing By
A4 Tired Of Being Alone
A5 I'm A Ram
B1 Driving Wheel
B2 Light My Fire
B3 You Say It
B4 Right Now Right Now
B5 All Because

Personnel & Credits:
Pam Brown Production Coordination
Tom Cartwright Project Director, Supervisor, Project Development
Margaret Goldfarb Production Coordination
Robert Gordon Liner Notes
Al Green Vocals
Willie Mitchell Producer
Eli Okun Executive Producer
Bud O'Shea Executive Producer
Cheryl Pawelski Production Coordination
Alan Robinson Liner Notes
Lisa Sutton Artwork, Design, Layout Design
Larry Walsh Remastering

Review:
After the shaky start of Green Is Blues, Al Green and producer Willie Mitchell established their classic sound with Green's second album, Gets Next to You. The main difference is in the rhythm section. Abandoning the gritty syncopations of deep Southern soul, the Hi Rhythm Section plays it slow and seductive, working a sultry, steady pulse that Green exploits with his remarkable voice. Alternating between Sam Cooke's croon and Otis Redding's shout, Green develops his own distinctive style, and Gets Next to You only touches the surface of its depth. Although the album is filled with wonderful moments, few are as astonishing as Green and Mitchell's reinterpretation of the Temptations' "I Can't Get Next to You," which turns the original inside out.
By Stephen Thomas Erlewine (AMG)

By Celo

Al Green "Full Of Fire"

Al Green

"Full Of Fire"
( LP Hi Records, 1976 )
Catalog # HI UK LP 417



Tracklisting:
A1 Glory ,Glory 2:45
Written-By - A. Green, W. Mitchell
A2 That's The Way It Is 3:37
Written-By - A. Green
A3 Always 3:17
Written-By - A. Green, C. Hodges
A4 There's No Way 3:28
Written-By - E. Randle, W. Mitchell
A5 I'd Fly Away 4:08
Written-By - A. Green
B1 Full Of Fire 5:12
Written-By - A. Green, M. Hodges, W. Mitchell
B2 Together Again 5:15
Written-By - B. Owens
B3 Soon As I Get Home 3:25
Backing Vocals - Duncan Sisters
Written-By - A. Green, M. Allen
B4 Let It Shine 3:12
Written-By - A. Green, M. Hodges

Personnel & Credits:
Arranged By [Strings, Horns] - James Mitchell , Willie Mitchell
Artwork By - Queens Graphics
Backing Vocals - Rhodes, Chalmers & Rhodes
Bass - Leroy Hodges
Drums, Congas, Bongos - Howard Grimes
Engineer - Willie Mitchell
Guitar - Teenie Hodges
Mastered By - Howard Craft
Organ - Charles Hodges
Photography - Norman Seeff
Piano - Archie Turner , Michael Allen
Producer - Al Green , Willie Mitchell
Saxophone [Baritone] - James Mitchell
Saxophone [Tenor] - Andrew Love , Lewis Collins
Strings - Memphis Strings, The
Trombone - Jack Hale
Trumpet - Wayne Jackson

Notes:
Recorded at Royal Recording Studios,
1320 South Lauderdale, Memphis, Tennessee 38118.

Review:
Full of Fire is the second to last '70s effort that Al Green co-produced with Willie Mitchell. While much of Green's previous work (I'm Still in Love With You, Call Me, Al Green Explores Your Mind) spotlighted Green's skill at doing songs filled with romance and longing, on Full of Fire he's more concerned with his burgeoning religious nature. Although that may seem slightly boring, the album is better structured and, as a whole, comes off even better than Al Green Is Love. The first track, "Glory, Glory," sneaks in religion so deftly that even Willie Mitchell probably didn't even get it until the track was done. One of the few romantic tracks, the sweet and old-fashioned "Always," has him coming in soft with much charm. "I'd Fly Away" and "Soon as I Get Home" both have Green fantasizing about heaven, but they're both spacey rather than morbid. The last track, the hard-edged "Let It Shine" is enlivened by Howard Grimes' patently surprising drumming. Although Green isn't always all there on Full of Fire, his co-production with Mitchell and the playing of Hi Rhythm makes this an essential offering.
By Jason Elias (AMG)

By Celo

Thursday, 12 November 2009

Freddie Roulette ''Sweet Funky Steel''

Freddie Roulette

''Sweet Funky Steel''
( LP Janus Records, 1973 )
Catalog # JLS 3053


Tracklisting:
01 - Smoked Fish 2:55
02 - Joaquin 3:55
03 - Del Conto Shuffle 5:10
04 - Cause And Effect 4:15
05 - Mr. Roulette 3:15
06 - Million Dollar Feeling 3:34
07 - Springtime 4:07
08 - Alleluia 4:30

Personnel:
Freddie Roulette - steel guitar
Don Sugarcane Harris - violin
Harvey Mandel - guitar
Victor Conte - bass
Paul Lagos - drums
Randy Resnick - guitar
Richard Aplanap - sax
Recorded at the Village Recorded, Los Angeles, California

Reviews:
The slack key and steel guitar tradition of Hawaii has been adapted for the blues by Illinois-born and San Francisco-based guitarist Freddie Roulette. Known for his cool tone and intense, high-note, squeals, Roulette provides some of the blues' most unique sounds. His 1978 debut solo album, Sweet Funky Steel, was produced by former Canned Heat guitarist, Harvey Mandel. In addition to recording as a soloist, Roulette has collaborated with bluesmen Earl Hooker and Charlie Musselwhite and guitar wizards Henry Kaiser and Steve Kinmock.
Performing mostly with obscure groups, Roulette supplements his income from music by managing a low-income apartment building in West Berkeley.
By Craig Harris (AMG)

Enticing an idea as a funky steel guitar album may be, only one and a half songs really lived up to the promise. Harvey Mandel produces this album which is a mesh of rock and blues instrumentals. Roullette's steel guitar sound is fetching enough - I like its signature whine - but most of the arrangements don't really live up to the same of "sweet" or "funky". The only one that does is "Million Dollar Feeling" which is a cook, smoky groover and benefits immensely from Victor Conte's bass work. "Alleluia" is an uptempo pacer - not bad, but it's a tad too chaotic. "Cause and Effect" could have been hot too but Don "Sugarcane" Harris' violin ruins the song in my opinion.
From Soulsides

By Pier

http://soul-sides.com/2003/09/sweet-smoke-how-sweet-it-is-crazy.html

http://www.discogs.com/viewimages?release=1064311

http://rapidshare.com/files/305821100/FRD_ROUL_SWTFNKSTL.rar

Tuesday, 8 September 2009

Albert Collins, Robert Cray, Johnny Copeland “Showdown!”

Albert Collins, Robert Cray, Johnny Copeland

“Showdown!”
( LP Alligator Records, 1985 )
Catalog # AL-4743


Tracklisting:
01 T-Bone Shuffle [Walker] 4:54
02 The Moon Is Full [Collins] 4:59
03 Lion’s Den [Copeland] 3:55
04 She’s into Something [Wright] 3:49
05 Bring Your Fine Self Home 4:30
06 Black Cat Bone [Semien, Wilson] 4:54
07 The Dream [Unknown Blues Band] 5:28
08 Albert’s Alley [Collins] 4:01
09 Blackjack [Charles] 6:26

Review:
Most of the original “blues summit” and blues “supergroup” type gatherings, which were done at Chess Records, were musically pointless affairs, mostly because the artists involved really didn’t like the idea behind the albums being recorded or the company they were forced to keep during the recording process. What makes Showdown! work is that the three featured players actually liked each other and enjoyed working together — even more important, they had something to say together musically, which just pours out of the contents of this jewel of a record, a summit meeting between Texas guitar veterans Albert Collins and Johnny Copeland and newcomer Robert Cray — the set is scorching all the way. Collins even treats us to some harmonica playing that’s more than a match for his guitar work on “Bring Your Fine Self Home,” and the only pity is there’s no other contribution by him on the harp anywhere else here. It’s all worth hearing, many times over, and if you can’t get the Mobile Fidelity version, find the Alligator Records digital issue, but get this album.
Bruce Eder & Bill Dahl

By Rob

Monday, 7 September 2009

John Mayall “The Turning Point”

John Mayall

“The Turning Point”
( LP Polydor Records, 1969 )
Catalog # 24-4004


Tracklisting:
01- The Laws Must Change
02 – Saw Mill Gulch Road
03 – I’m Gonna Fight for You J.B
04 – So Hard To Share
05 – California
06 – Thoughts About Roxanne
07 – Room To Move
08 – Sleeping By Her Side
09 – Don’t Waste My Time
10 – Can’t Sleep This Night

Personnel:
- John Mayall: harmonica, slide guitar, telecaster guitar,
tambourine, mouth percussion
- Jon Mark: acoustic finger-style guitar
- Stephen Thompson: bass
- Johnny Almond: tenor and alto saxophones, flutes, mouth percussion

Review:
The Turning Point is a live album by John Mayall, featuring British blues music recorded at a concert at Bill Graham’s Fillmore East on July 12, 1969.
John Mayall sings and plays harmonica, slide guitar, Telecaster guitar, tambourine and mouth percussion on the album. Other musicians include Jon Mark (acoustic finger-style guitar),Stephen Thompson (credited as Steve on the album cover, but referred to by Mayall as Steven or Stephen in the intro to the first song) (bass guitar) and Johnny Almond (tenor and alto saxophones, flutes, mouth percussion).

Note:
”Vincent The Soul Chef of Fufu Stew blog said:
Kudos for yet another tremendous post! I have also had this great record for many years. My wife and I were fortunate enough to meet Mr. Mayall during his 70th birthday concert tour a few years ago which was really cool. Everyone should also check out “Jazz Blues Fusion” which in my opinion is his best work featuring Blue Mitchell as well as Larry Taylor of Canned Heat fame.
Peace and blessings.”

Thank for the comment, Vincent!

By Celo

Albert King “King Of The Blues Guitar”

Albert King

“King Of The Blues Guitar”
( LP Atlantic Records, 1969 )
Catalog # SD 8213
Also reissued on Atlantic Rec., 1989
Catalog # 7567 82017 2


Tracklisting:
01 Laundromat Blues
02 Overall Junction
03 Oh, Pretty Woman
04 Funk-Shun
05 Crosscut Saw
06 Down Don’t Bother Me [*]
07 Born Under a Bad Sign
08 Personal Manager
09 Kansas City [*]
10 The Very Thought of You [*]
11 The Hunter [*]
12 I Almost Lost My Mind [*]
13 As the Years Go Passing By [*]
14 Cold Feet
15 You Sure Drive a Hard Bargain
16 (I Love) Lucy
17 You’re Gonna Need Me
[*] Bonus Tracks

Review:
Atlantic’s original vinyl edition of this was comprised of Albert’s Stax singles — a few from Born Under a Bad Sign, along with “Cold Feet,” “I Love Lucy” (two of King’s patented monologues), and the beautiful “You’re Gonna Need Me.” Great stuff. Even greater, though, is the reissue, which includes those singles (which didn’t appear on any other LPs) and all of Born Under a Bad Sign. Need I say more?
By Dan Forte (AMG)

By Rob

Friday, 4 September 2009

Albert King ”King Albert”

Albert King

”King Albert”
( LP Tomato Records, 1977 )
Catalog # TOM-6002

Tracklisting:
A1 Love Shock (4:40)
A2 You Upset Me Baby (4:15)
A3 Chump Change (3:40)
A4 Let Me Rock You Easy (4:56)
B1 Boot Lace (5:55)
B2 Love Mechanic (4:01)
B3 Call My Job (4:27)
B4 Good Time Charlie (4:45)

Credits:
Mastered By – Larry Nix
Producer – Don Davis

Notes:
Recorded at United Sound Systems Detroit, Michigan.
Mastered at Ardent Mastering, Inc,. Memphis, Tenn.
Format: Vinyl, LP, Album
Country: US
Released: 1977

Review:
Rebounding slightly from the nadir of Albert, Albert King delivered King Albert, a record that at least sticks to the tough, soul-inflected blues that made his reputation. Granted, the sound of the album is entirely too polished, but there is genuine grit in the performances and some strong songs, such as “You Upset Me Baby” and “Good Time Charlie,” on the record. That may be enough for some hardcore fans to give a listen, but they should be forewarned that even those inspired moments aren’t enough to make King Albert a worthwhile release.
By Thom Owens (All Music Guide)

By Pier

James Brown “The Singles” The Federal Years,1956-’60

James Brown

“The Singles”
The Federal Years,1956-’60

Tracklisting:
Disc 1:
1. Please, Please, Please
2. Why Do You Do Me
3. I Don’t Know
4. I Feel That Old Feeling Coming On
5. No, No, No, No
6. Hold My Baby’s Hand
7. I Won’t Plead No More
8. Chonnie-On-Chon
9. Just Won’t Do Right
10. Let’s Make It
11. Gonna Try
12. Can’t Be The Same
13. Messing With The Blues
14. Love Or A Game
15. You’re Mine, You’re Mine
16. I Walked Alone
17. That Dood It
18. Baby Cries Over The Ocean
19. Begging, Begging
20. That’s When I Lost My Heart;

Disc 2:
1. Try Me
2. Tell Me What I Did Wrong
3. I Want You So Bad
4. There Must Be A Reason
5. I’ve Got To Change
6. It Hurts To Tell You
7. I’ve Got To Change stereo version
8. It Hurts To Tell You stereo version
9. Doodle Bee
10. Bucket Head
11. It Was You
12. Got To Cry
13. Good Good Lovin’
14. Don’t Let It Happen To Me
15. I’ll Go Crazy
16. I Know It’s True
17. Think
18. You’ve Got The Power duet with Bea Ford
19. This Old Heart
20. Wonder When You’re Coming Home

Review:
In the annals of popular music, one artist reigns supreme as the No. 1 R&B Singles Artist of All Time: James Brown. By far. Now, on the 50th Anniversary of Brown’s professional recording debut, this special order limited edition is the first in a series of 2-LP collections chronicling every single from “The Hardest Working Man In Show Business.” Kicking off the series is The Federal Years: 1956-1960, with 40 songs, from the first hit, the Top 5 “Please, Please, Please,” which remains his signature sign-off, to “Think,” which showcased the sound of things to come. Brown and the Famous Flames had signed with King Records in January, 1956, and as a young, unproven act were placed with King’s Federal subsidiary label. These 40 tracks alone make for a historic and compelling collection, as Brown went from a hit his first time out, to his future being in jeopardy eight flops in a row! to becoming one of the best R&B acts in the country. But this set includes an extraordinary bonus track: the long-lost demo for “Try Me,” which when re-recorded in New York, became Brown’s first of many R&B No. 1 hits. The demo is rough-sounding it was transferred from an extremely rare, recently discovered acetate but it’s a unique and exclusive glimpse into the inner workings of a young James Brown and The Famous Flames.

By Celo

Lou Rawls ”Naturally”

”Naturally”
( LP Polydor Records, 1976 )
Catalog # PD-1-6086

Tracklisting:
A1 Natural Man
A2 His Song Shall Be Sung
A3 Got To Get You Into My Life
A4 A Song For You
A5 Love Is A Hurtin’ Thing
B1 Tobacco Road (Live)
B2 I’m A King Bee
B3 Evil
B4 Dead End Street Monolog
B5 Dead End Street (Live)

Credits:
Producer – Michael Lloyd

Notes:
Compilation of pre-released records:
1972 MGM Records
1973 MGM Records
Printed in USA
Format: Vinyl, LP, Album
Country: US
Released: 1976
Original vinyl rip

By Pier

Wednesday, 2 September 2009

James Brown “Night Train”

James Brown

“Night Train”
( LP King Records, 1962 )
Catalog # King LP 771

Tracklisting:
1. Hold It – James Brown
2. The Scratch - James Brown
3. Night Train - James Brown
4. The Wobble - The Wobblers
5. Night Flying - James Brown
6. Just A Little Bit Of Everything - Herb Hardesty
7. Doin’ Everything - Henry Moore
8. Suds - James Brown
9. Tonk Game - Hank Marr
10. Switch-A-Roo - Henry Moore
11. Bushy Tail - Clifford Scott
12. Cross Firing - James Brown

Review:
6 instrumental tracks by James Brown, plus 6 others by The Wobblers, Herb Hardesty, Henry Moore, Hank Marr, and Clifford Scott. Black label “deep groove” King pressing. Notice that the label reads with the LP title ”Twist Around,” with the same catalog number and track listing.

By Celo

Booker T & The MG’s ”Soul Dressing”

Booker T & The MG’s

”Soul Dressing”
( LP Stax Records, 1965 )
Catalog # 705
*Also reissued on Atlantic Records with
Catalog # 7567-82337-2 (1995)

Tracklisting:
1 Soul Dressing (2:24)
2 Tic-Tac-Toe (2:30)
3 Big Train (2:30)
4 Jellybread (2:27)
5 Aw’ Mercy (2:34)
6 Outrage (2:31)
7 Night Owl Walker (3:12)
8 Chinese Checkers (2:25)
9 Home Grown (2:39)
10 Mercy Mercy (2:32)
11 Plum Nellie (2:03)
12 Can´t Be Still

Credits:
Bass – Lewis Steinberg (tracks: 6, 7, 10)
Drums – Al Jackson Jr. (tracks: 8, 11)
Guitar – Steve Cropper
Keyboards – Booker T. Jones
Reissue Producer – Yves Beauvais
Saxophone [Baritone] – Floyd Newman
Saxophone [Tenor] – Charles Axton
Trumpet – Wayne Jackson

Notes:
Tracks 6, 7, & 10: Bass either Lewis Steinberg or Donald “Duck” Dunn.
Format: Vinyl, LP, Mono
Country: US
Released: Mar 1965
1st U.S. Pressing
Cover from the Reissue copy.

Review:
Assembled mostly from (non-hit) 1963-65 singles, this is solid stuff, but a notch below their peak collections. The best tracks (”Soul Dressing,” “Tic-Tac-Toe,” “Can’t Be Still”) are usually included on their best-of anthologies, but “Plum Nellie,” featuring some ferocious, cutting-edge solos by Cropper and Jones, is an overlooked highlight.
By Richie Unterberger (AMG)

By Pier

Little Milton ”Blues ‘N Soul”

Little Milton

”Blues ‘N Soul”
( LP Stax Records, 1974 )
Catalog # STS-5514

Tracklisting:
1. Woman Across The River 4:12
2. Behind Closed Doors 3:59
3. Sweet Woman Of Mine 3:28
4. Worried Dreamer 5:21
5. How Could You Do It To Me 4:56
6. You’re No Good 2:58
7. Tain’t Nobody’s Biz-ness If I Do 6:25
8. Hard Luck Blues 4:14

Personnel & Credits
The Memphis Horns (Horn)
Pete Bishop (Engineer),
(Remixing), William Brown (Engineer),
William Brown (Remixing)
Little Milton (Guitar), (Vocals), (Producer), (Main Performer)
Milton Campbell (Producer)
Willie Hall (Drums)
Bobby Manuel (Guitar)
Memphis Symphony Orchestra (Strings)
James Mitchell (Arranger)
Willie Murphy (Bass),
Richard Rosebrough (Remixing)
Lester Snell (Piano)
Michael Toles (Guitar),
David Weatherspoon (Bass)
James Michell (Arranger)
Joe Tarantion (Mastering)

Review(1):
Having already recorded for both Sun and Chess Records, two of the most historically significant labels in the history of blues and rock, Little Milton signed to Stax in the early ’70s, adding yet another heavyweight to his catalog. On Blues ‘N’ Soul, he is joined by many of the same musicians that backed him on his Stax studio debut, Waiting for Little Milton, including drummer Willie Hall, guitarist Bobby Manuel, bassist Willie Murphy, and pianist Lester Snell. An impassioned singer, Milton’s early-’70s output indeed began to walk the fine line between the blues and soul of the album title, a fact accentuated by the sparkling touches of the Memphis Horns. Although there are only two originals in the set, the singer’s interpretations of songs popularized by Charlie Rich (”Behind Closed Doors”), Linda Ronstadt (”You’re No Good”) and Freddie King (”Woman Across the River”) are just as convincing. Milton’s own “Sweet Woman of Mine” captures the combo in an up-tempo mode, simultaneously tough and swinging. “‘Tain’t Nobody’s Business If I Do” is a tour de force of soul-blues that paces itself exquisitely across six and a half minutes, and “Hard Luck Blues” concludes the set with a hard funk groove. Throughout the album, the arranging skills of James Mitchell demonstrate how strings can be incorporated into a hard blues setting. Though they provide ample color to these productions, they do little to dilute the essential nature of the music. Excluding the singles collection Walking the Back Streets, Blues ‘N’ Soul may very well be Milton’s best set for Stax.
By Nathan Bush (AMG)

Review(2):
Despite the dismal length of the vinyl original (I also owned that,) this is part of the Little Milton (Campbell) legacy. His version of of “Behind Closed Doors” puts the pedal to the wonderful Charlie Rich original. Equally fine is the stinging version of “You’re No Good” which found its way into easily a half-dozen mix cassettes of mine. “Hard Luck Blues” features his hard BB King styled, but not as liquid guitar, and his grainy voice. “Sweet Woman of Man” is also a stand-out cut with more guitar. Since I first heard this some nearly thirty years ago, I am not an objective observer. But “Grits Ain’t Groceries” and Milton was most certainly the real deal. (He also renders a fine version of the Billie Holiday tune “Tain’t Nobody’s Business… ” on this disc. ) I can’t imagine not liking this album.
By Mark N. Russell (Amazon)

By Pier

Booker T. & The MG’s / The Mar-Keys “Stax Instrumentals”

Booker T. & The MG’s / The Mar-Keys

“Stax Instrumentals”
( Stax Records, 2003 )
Catalog # 8609-2

Tracklisting:
01 Let’s Go [Cropper, Dunn, Jackson, Jones]
02 Good Groove [Cropper, Dunn, Jackson, Jones]
03 Candy [Newman]
04 Peppy [Mar Keys]
05 Slidin’ [Cropper, Dunn, Jackson, Jones]
06 Put a Label on It [Cropper, Dunn, Jackson, Jones]
07 Raw-Hide [Grant, Wray]
08 Gigglin’ [Newman]
09 Jazzy [Cropper, Dunn, Jackson, Jones]
10 Weird Stomp [Cropper, Dunn, Jackson, Jones]
11 Made in Memphis [Mar Keys]
12 Soul Twist [King Curtis]
13 Funky Folks Cha Cha [Cropper, Dunn, Jackson, Jones]
14 Tick Tac Toe [alternate take] [Cropper, Jackson, Jones]
15 Settle Down [Mar Keys]
16 Blue Peanut [Mar Keys]
17 Ain’t It [Cropper, Jackson, Jones]
18 Lawn Party [Cropper, Dunn, Jackson, Jones]
19 Tighten Up [Mar Keys]
20 Saucy [Cropper]
21 Consumption [Cropper, Dunn, Jackson, Jones]
22 Three Leaf Clover [Cropper, Dunn, Jackson, Jones]
23 Sassy [Newman]
24 The Floyd [Newman]
25 The Bo Vitch [Cropper, Jackson, Jones]

Credits:
Compiled & Liner Notes – Alec Palao
Composed By – Al Jackson Jr. (tracks: 1, 2, 5, 6, 9, 10, 13, 18, 21, 22),
Booker T. Jones (tracks: 1, 2, 5, 6, 9, 10, 13, 18, 21, 22),
Donald “Duck” Dunn (tracks: 1, 2, 5, 6, 9, 10, 13, 18, 21, 22),
Mar-Keys, The (tracks: 4, 11, 15, 16, 19),
Steve Cropper (tracks: 1, 2, 5, 6, 9, 10, 13, 18, 21, 22)
Other [Archive Research By] – Roger Armstrong

Notes:
Total Time 64:25
AAD / Mono (except #13 and 21 stereo)
Format: Compilation, Stereo, Mono
Country: Germany
Released: 2003

Review:
In fact the bassist Donald Duck Dunn and the lead guitarist Steve Cropper of Booker T and the MG’s were in the movie as cast members of the Blues Brother’s band.
As back up band for the majority of Stax studio soul music alumni, Booker T. & the MG’s/Mar-Keys had a wide range of melodic styles back then as represented on this compilation encompassing early ’60’s yackity sax dance party pop to the smokey electric base, twangy guitar and bluesy-cool jazz organ riffs first heard in the ‘62 Green Onions hit.
Their unique sound has permeated through American pop culture where their influence can be heard in Frankie Avalon beach movies, Beach Boys songs, the Door’s “Rider’s On The Storm”, the Partridge Family, even TV commercials all the way to the present Late Night with David Letterman and the early SNL bands. And the thing is most of the songs on this compilation sound more modern, fresh and original than what most bands are producing today.
Also, specific to this Fantasy Records release is the sound quality of this remix is the best out of the bunch. Big bass sound with distinct separation between instruments on the majority of the cuts that give a live studio feel similar to the way jazz sessions were recorded back in the day.
I say the majority of the songs because there are some that don’t cut the mustard on sound fidelity on this particular set. In fact on one Rhino label remix I have of the “Very Best of Booker T and the MG’s” has the bass sucked right out of most of the songs giving them a flat, AM radio-sh sound where cranking it up makes the kick bass drum sound thonky and hollow. “EQ-ing” doesn’t help. It just creates more distortion.
The cause of this can be deduced from the “Stax Instrumental” set liner notes where Steve Cropper, the lead guitarist, describes this ambient warm bassy sound the early Stax studio embued to their recording sessions. He says they had to use filters to substantialy tone down the bass because it would create wide grooves in the vinyl LP cuts eating up so much wax they couldn’t fit the rest of the songs on the album. But because they had plenty of room on a single 45rpm release, Green Onions being their first, they allowed more bass which accounts for this hit’s signature sound making it on all record’s and probably the reason for the sound quality inconsistancies on a wide range of re-released cuts. It’s apparent on my two set’s some selections may have come from master tapes mixed for LP’s. Cool FYI nonetheless for those who’ve ever wondered why vinyl has that certain sound quality. It’s not the wax, it’s the mix.
My favorites on this record are “Slidin”, “Consumption”, “Tick Tac Toe” among many others. Really cool crusin’ music. I can tell you this is definately a keeper album.
By Tim Lookingbill “Digital Dude” (Amazon)

More info here.

By Rob

Tuesday, 1 September 2009

John Kasandra ”Beautiful New World”

John Kasandra

”Beautiful New World”
( LP Respect Records, 1972-’73 )
Catalog # TAS-2603

Tracklisting:
A1 Don´t Cloud Up My Sky (3:57)
A2 Help Me To Be Wrong (3:01)
A3 Make Me Believe You´ll Stay (4:53)
A4 That´s What Life Is All About (3:04)
A5 The Nanny (3:55)
B1 Mulatto Baby (2:51)
B2 Love Is Not The Answer (4:22)
B3 Freedom Of Speech (4:44)
B4 Wings On Our Minds (4:08)

Notes:
Respect was a Stax Sub-Label!
Format: Vinyl, LP
Country: US
Released: 1973

More info here.

By Pier

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