Pretty Purdie and The Playboys – Stand By Me (Watcha See Is Watcha Get) (1971) 24-96khz vinyl

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Pretty Purde & The Playboys
“Stand By Me (Whatcha See Is Whatcha Get) “
Released 1971 Mega Records (M51-5001) / Flying Dutchmen
This reissue — Year unknown

Stand By Me 4:55
Modern Jive 3:18
Spanish Harlem 3:29
Artificialness 3:05
Never Can Say Goodbye 3:00
Whatcha See Is Whatcha Get 5:13
It’s Too Late 4:30
Funky Mozart 3:00
You’ve Got A Friend 3:51

Vinyl repressing -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 32-bit float s 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

* Bongos, Congas – Norman Pride
* Drums – Pretty Purdie
* Electric Bass – Chuck Rainey
* Guitar – Billy Nichols, Cornell Dupree
* Harpsichord, Tambourine – Neal Rosengarden*
* Horns [Reeds] – Billy Mitchell, Don Ashworth, Lou Delgatto, Seldon Powell, Warren Daniels
* Piano, Electric Piano, Arranged By, Conductor – Harold Wheeler
* Trumpet – Snooky Young*, Gerry Thomas
* Vocals – Carl Hall, Hilda Harris, Norma Jenkins, Tasha Thomas

Recorded at Atlantic Recording Studios, NYC, August 12 & 13, 1971
Producedy by Bob Thiele
Photography by Clarence (CB) Bullard, Ray Ross, Bob Thiele, Giuseppe Pino, Popsie
Design by Haig Adishian
Liner notes by Nat Henthoff
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This record inhabits a weird space of deep soul originals and funky covers of pop and Brill Building material. The actual 45 RPM hit single off this record was one of the former — the infectiously silly “Funky Mozart”, which begs for a promotional video with an afro-cut Amadeus at a Hammond B-3. But the rest of the repertoire sees Purdie interpreting Jerry Leiber and Phil Spector, Clifton Davis / Jackson 5’s “Never Can Say Goodbye”, Carole King (twice!) and Ben E. King. In fact that opening title cut starts out sappy enough to make a person wonder whether or not they made a good choice putting this album on the platter, but those doubts are quickly dispelled. Thankfully, the album isn’t titled “Pretty Purdie Sings!” and this is the only vocal number than he handles himself, there than some scat, um scatting, Like all of Purdie’s albums under his own name – this is a ride based on fun, and if you can’t relax and enjoy yourself then you should probably get a job at AMG or Pitchfork or something.

One particular surprise on this one is an early cut from the recently-late, always-great Gil Scott-Heron, “Artificialness” in which he reads a poem relating domestic strife (and implied violence, incidentally) to the policies of the Vietnam War. Again, it’s humorous, but darkly so, and read over a blues groove that takes the song out swinging. Purdie had just finished playing on Gil’s “Piece of a Man” and http://www.blogger.com/img/blank.gifthis tune probably has its origins in that initial pairing up.

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