Patrice Rushen – I Was Tired Of Being Alone (1982) [12″-inch single]

Patrice Rushen – I Was Tired Of Being Alone
Vinyl rip in 24-bit/96kHz | FLAC |  Art scans at 300 dpi
353MB (24/96) + 107MB (16/44) + 48 MB (320) |  Genre: funk / soul / disco | 1982
Elektra Records ~ K 13184 T

While I had been meaning to upload some more Prince extended 12″ singles in time for the anniversary of his passing last week,  I’ve been busy with other things and I had “Around The World In A Day” ready and in the queue.  As it turns out, I also picked up a couple 12″-inchers of his that I was missing at the latest Record Store Day along with other goodies in my first time visiting that crazy debacle in several years.  However, I’ve also been wanting to do a run of Patrice Rushen material for a very long time as well, and had this single simmering on the proverbial stove.  I got this from an independent seller at Camden market in London, because for me every day is record store day.  Why am I rambling on, conflating these two seemingly different people?  There’s an interesting link – Patrice helped Prince program his analog synths for his debut Warner Brothers album, is rumored to play on a couple tracks, and his song “Why You Wanna Treat Me So Bad” from his second LP was allegedly pitched to her, and she turned it down.  The young Prince may have had a bit of a crush on her, and who can blame him?  He was taller than her, and that didn’t happen too often…  In any case, she was destined to get together with me instead, and be my wife after Gal Costa dumped me.  And she would be too, if the mailman didn’t have a secret agenda against me, hoarding all my letters in a basement next to his stockpile of C4 that he bought off the dark net.  I would say something, but I’m too scared of him.

Continue reading

Prince – Around The World In A Day (1985) (Paisley Park ~ 9 25286-1 ~ SRC Pressing)

folder

 

Prince & The Revolution – Around The World In A Day
Vinyl rip in 24-bit/96kHz | FLAC & mp3 | 300 dpi LP Artwork
904 MB (24/96) + 323 MB (16/44) + 113 MB (320) |  Direct Links | Genre: Prince | 1985
Warner Brothers / Paisley Park ~ 9 25286-1 ~ SRC Pressing

I bought this album the same week it was released with money I earned from my paper route as a ten year-old kid.  In a previous post, I described this album as a “the gateway drug” to a universe of unheard sounds that would shape my musical tastes in unexpected ways for years to come.  It may not have have been Prince’s most consistent record from start to finish, but it was a bold and unpredictable artistic statement from somebody who could have just released Purple Rain II and made everybody happy.  The critics loved to hate this album.  His fans have always known better. Continue reading

Barrabas – Barrabas (1972)

folder

Barrabas
“Barrabas”
RCA Victor APL1-0219 (US release)

Mono mix (stereo labels)
Genre: Rock, Latin, Funk / Soul

A1  Wild Safari  4:57
A2  Try And Try  6:21
A3  Only For Men  3:34
A4  Never In This World  3:31
B1  Woman  5:07
B2  Cheer Up  3:51
B3  Rock And Roll Everybody  3:34
B4  Chicco  3:48

Record Company – RCA Corporation
Recorded At – Estudios RCA, Madrid
Pressed By – RCA Records Pressing Plant, Indianapolis

Acoustic Guitar, Bass, Vocals – Miguel
Drums, Vocals – Fernando
Engineer – J. Cobos*, M. Barrios, N. Dogan
Lead Guitar, Vocals – Ricky*
Lead Vocals, Bass Guitar – Iñaki
Liner Notes – Tom Paisley
Organ, Piano – Juan
Producer – Fernando Arbex
Saxophone, Percussion, Flute, Drums – Ernesto

Notes – Dynaflex pressing

Recorded at the RCA Studios, Spain

Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply; Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair, manually auditioned, and individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.

Not their best, leaning more towards the rock and less of the funky discotheque stuff they would eventually be known for. Back cover compares the lead singer to Rod “The Mod” Stewart. I’m not so sure about that claim. Actually they kind of remind me of early Traffic here, but with even dopier lyrics. “Only For Men” could have been a TV advertisement for the 1972 equivalent of AXE Body Spray, but the more you listen to it, the more it sounds like a creepy “Men’s Rights Advocate” anthem.  The two big smash cuts here were the first tracks on either side, “Wild Safari” and “Woman.  I was assured by a friend about the former, “Wild Safari was THE track blasting out everywhere in Can Piacafort, Majorca during my holiday there in the summer of 1972.” The record definitely has its appeal, and it may grow groovier as you listen to it more.  It’s easy to see how the locked-in rhythm section was already in place very early and how that made this group a fave of beat farmers everywhere.  It’s a stoney party record with Spaniards singing in awkward English, so what’s not to like?  I may not think it’s their best album, but you’re welcome to disagree.  It’s definitely a more consistent listen than their second album, Power, which finds them meandering into different styles, including an attempt to be some sort of Spanish T-Rex, this debut is just not as good as later efforts like ¡Soltad a Barrabás! and Heart of the City.  In any case I plan to post some of their other records soon, by which I mean at some point before I die.

Don’t be put off by the taped-together, busted jacket of this copy – this was a radio station duplicate copy that was probably never played before I got hold of it, although the Dynaflex vinyl is inconsistent as it is wont to be.  Also note that the label says stereo but the mix is very much in mono.  I’m not sure if this is a mistake at the pressing plant or a genuine AM Radio mix of the whole album?  There is definitely a stereo mix of Wild Safari, but I’m not sure about the rest.  Maybe some helpful reader can chime in.  Oh yes, and this record was released with at least two alternate covers.  The French one (which also boasted a different title, Afro-Soul) is particularly groovy, I think.  Oh yeah, and today’s my birthday, woo hoo and three cheers for me.

Spanish cover

Spanish cover

French cover variant

French cover variant


A word:  times are tough all over, and I’m reinventing myself for the third or fourth time in life to adjust to our New Reality.  I am trying to save some money so that I can relocate to a place where there are actual jobs for people with my kinds of skills.  I’m stuck in a rut, y’all, and it’s been hell getting out. If you enjoy reading these posts and hearing the music, consider making a donation using one of the buttons on the sidebar of the blog.  Any amounts given help me pay server costs and continue to have make posts about good (or good-ish) music.  Any amounts are welcome.  Thanks!


mp3 iconflac button24bitpassword: vibes

 

Eugene McDaniels – Headless Heroes of the Apocalypse (1971)

folder

“No amount of dancin’
Is going to make us free.”

The Left Reverend Eugene McDaniels

    Recorded at Regent Sound Studios and Atlantic Studios, New York City
1971 Atlantic SD 8281 (Original release)
This reissue 200_ by Scorpio/Rhino records

Acoustic Bass – Miroslav Vitous
Drums – Alphonse Mouzon
Electric Bass – Gary King
Featuring – Welfare City Choir
Guitar – Richie Resnikoff
Piano, Music Director – Harry Whitaker
Vocals – Eugene McDaniels, Carla Cargill

Producer – Joel Dorn
Recording and remix engineer – Lewis Hahn

Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply; Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair, manually auditioned, and individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.


Inauguration day special, y’all.

Dim the lights for this one.

I’ve heard different rumors about Eugene McDaniels and the Nixon administration – that the FBI was tapping his phone, that Spiro Agnew himself called Atlantic Records to complain about this album, which would seem to indicate that the reactionaries were much hipper to popular culture than I personally give them credit for.  But it’s not too far fetched – his most famous song, Compared To What?, which became a huge hit for Les McCann & Eddie Harris and then again for Roberta Flack – may be the boldest, most biting sociopolitical critique to ever top a record chart, and has apparently been covered by 270 different artists by today’s count.  So I can believe that, for the forces of Empire, Eugene McDaniels was a man who had to be stopped.  Atlantic Records dropped him after Headless Heroes of the Apocalypse.  The record is a profound and mercurial work of art that is revolutionary, less in some kind of militant way than in its general refusal to fit into any preconceived framework.  Instead, it carves out its own space and leaves the listener transformed and looking at the world differently than before they put it on.  This album, and Eugene himself, were their own gestalt.

I’m still thinking that, someday, I will file a Freedom of Information Act on Eugene McDaniels to see what, if anything, the Deep State was thinking about him.  This is what how I imagine a summary of his file might read:

  “McDaniels, Eugene Booker.  Born February 2, 1935 in Kansas City.  Black communist singer with known jazz associates.  Calls himself a Reverend, may be planning to form a religious cult or commune – field reports are inconclusive.  Believes rock singer Mick Jagger to be the Antichrist.”

I have been wanting to post about this album at various moments throughout the last couple of years.  It’s become a relevant soundtrack again and a source of solace for me.  The enigmatic  McDaniels is truly one of the great unsung songwriters of the twentieth century, because I think he wanted it that way.   This record gets name-checked a lot because it’s been sampled by prominent artists. The grooves are undoubtedly deep, and the musicians first rate – in fact the notes to the 2005 reissue of this on Water Records, with the limited space they have, talk more about arranger and keyboardist Harry Whitaker than they do Eugene.  Granted, Whitaker is the special secret sauce that makes this album stand out from its 1970 predecessor “Outlaw.”  That album is also really great, but this one is explosive and astounding,  unquestionably a masterpiece.  It was made with almost no budget, with Whitaker doing the arrangements, and with minimal overdubs (mostly just vocals, except for the first track which has a second guitar and some percussion added).   H.W. deserves tons of credit for the sound and cohesiveness of the final product, but for me it is McDaniels’ voice, lyrics, melodies and above all his completely unique vision that make this an album about which I can say “There’s really nothing else quite like it.”   It was a boundary-defying fusion of funk, jazz, rock, and soul; a record that is utterly psychedelic without a single wah peddle or production gimmick, hell there isn’t even a solo anywhere here in spite of the fact that every one of the musicians were utter virtuosos.  Apparently Whitaker wanted to bring horns in on the record but they had no money for it.  I’m so glad they didn’t, because its sound of lean restraint became an essential characteristic of its sound.  It’s intense, but also relaxed.

When I say he is enigmatic I guess I just mean enigmatic to me, because he left a big musical footprint with an incredible career arc, but chose to spend most of his life rather quietly away from the spotlight.   We’ll have a look at his YouTube channel that he started sometime around 2010 in a minute, but first let’s recap the basic facts first. McDaniels was a huge cross-over hit-maker in the early 60’s with “100 Pounds of Clay,” a song so popular that my parents remember it from their high school days, and “Tower of Strength,” both when he went by Gene rather than Eugene.  In the middle of the decade he wrote the song that would end up being recorded innumerable times, Compared To What?, the royalties from which presumably left him set for life.  At the end of the decade, McDaniels features prominently on one of my favorite Bobby Hutcherson albums, the adventurous and politically-charged Now!   He never lost the pop instincts he honed early in his career, but chose to make uncompromising, uncommercial music.  Like one of the only other people I would put in his category, Andy Bey, he also had a classic jazz singers voice (check out Freedom Death Dance…), and a four octave range, and he apparently preserved both up to the very end, in spite of  – or is it because of? – disengaging from the crazy world of the music industry.  The guy was too deep for the machine to process, and he didn’t need the money, so he went and lived his life privately, and took very good care of himself.  Listen to this man speak for a few minutes about Compared To What.  He looks so great here, with no indication that he would pass away within the year

 

Now is the place where normally I might indulge in a track by track breakdown of this record.  I could do that, and maybe someday I will, but it should really be heard first, and I bet some of you haven’t played it yet.  So let’s all listen to it and meet back here in a month to discuss it?  Really, it does speak for itself, and has to be absorbed with all of its quirks.  It should be left to the listener to follow his labyrinthine thread that ties together end-times religious imagery; invective against war and calls for justice that are clever, funky, and tuneful; a story of how everyday life as a black man going about everyday capitalist acts (trying to exchange an item at a grocery store) can lead to a near race riot; and a narrative of the colonial “settling” of the United States, decrying the indignities visited on First Nations peoples.   This last track is the climactic closer to the album, The Parasite (For Buffy), which in spite of just having guitar-bass-drums and vocals, comes off almost orchestral in its sweep (which is definitely a testament to Whitaker, who I imagine standing in front conducting them all with a baton).  It’s a breathtaking unity of words, music, execution.  McDaniels vocal control here is worth a study of its own: the verses have a sweetness that becomes a snarl in schizophrenic increments, with the anger slowly being peeled back in single accents and intonations, replaced again by sweetness almost like he is trying to hold back the demon.  Until, by the end, his voice becomes a raw exposed nerve, with the final minute collapsing into literal screaming and the group attacking their instruments in a free-form festival of noise, an avant-garde blast, like the sound of the universe diving into its own navel.

You have to hear it to believe it.


mp3 iconflac button24bit

password: vibes

The Brothers Johnson – Right On Time (1977)

01-frontThe Brothers Johnson
Right On Time
1977 A&M Records SP-4644

Runnin’ For Your Lovin’     5:05
Free Yourself, Be Yourself     4:26
“Q”     3:25
Right On Time     3:50
Strawberry Letter 23     4:58
Brother Man     3:10
Never Leave You Lonely     3:02
Love Is     4:20

A1     Runnin’ For Your Lovin’  5:05 (George Johnson, Louis Johnson)

Backing Vocals – Alex Weir, George Johnson, Mortonette Jenkins Drums – Harvey Mason Horns – Tower Of Power Horn Section Keyboards, Synthesizer – Dave Grusin Percussion – Ralph MacDonald  Guitar, Bass – George Johnson, Louis Johnson

A2     Free Yourself, Be Yourself      4:26  (George Johnson, Louis Johnson)

Backing Vocals – George Johnson, Jim Gilstrap, Louis Johnson, Richard “Jose” Heath* Drums – Harvey Mason Horns – Tower Of Power Horn Section Keyboards, Synthesizer – Ian Underwood  Percussion – Ralph MacDonald Rhythm Guitar – David T. Walker   Guitar, Bass – George Johnson, Louis Johnson

A3     “Q”     3:25  (Louis Johnson, George Johnson)

Keyboards, Synthesizer – Dave Grusin Percussion – Ralph MacDonald Guitar, Bass – George Johnson, Louis Johnson

A4     Right On Time      3:50  (Quincy Jones, George Johnson, Louis Johnson)

Backing Vocals – Alex Weir, George Johnson, Jim Gilstrap, Louis Johnson, Richard “Jose” Heath Drums – Harvey MasonHorns – Tower Of Power Horn Section Keyboards, Synthesizer – Dave Grusin Lead Vocals – George Rhythm Guitar – David T. Walker Guitar, Bass – George Johnson, Louis Johnson

B1     Strawberry Letter 23     4:58  (Shuggie Otis)

Backing Vocals – Alexandra Brown, Denise Trammell, George Johnson, Jim Gilstrap, Louis Johnson, Oren Waters, Stephanie Spruill Drums – Harvey Mason Guitar, Soloist – Lee Ritenour Keyboards, Synthesizer – Dave Grusin, Ian Underwood Percussion – Ralph MacDonald

B2     Brother Man   3:10  (Louis Johnson, George Johnson, Dave Grusin)

Drums – Harvey Mason Keyboards, Synthesizer – Dave Grusin Percussion – Ralph MacDonald  Guitar, Bass – George Johnson, Louis Johnson

  
B3     Never Leave You Lonely    3:02  (Louis JohnsonValerie Johnson, Peggy Jones)

Drums – Harvey Mason Guitar, Bass – George Johnson Lead Vocals – Louis Percussion – Ralph MacDonald Guitar, Bass – Louis Johnson

B4     Love Is   (Louis Johnson, George Johnson, Quincy Jones, Peggy Jones)

Backing Vocals – Alexandra Brown, Denise Trammell, George Johnson, Jim Gilstrap, Oren Waters, Stephanie Spruill Keyboards – Dave Grusin Percussion – Ralph MacDonald  Guitar – George Johnson Guitar, bass – Louis Johnson

Horns arranged by Greg Adams

Alto Saxophone – Lenny Pickett
Tenor Saxophone – Emilio Castillo
Trumpet  – Greg Adams
Trumpet – Mick Gillette
Baritone Saxophone  – Stephen Kupka

Produced and arranged by Quincy Jones
Synthesizers programmed by – Ian Underwood, Michael Boddicker

Art Direction – Roland Young
Creative director – Ed Eckstine
Engineer – Norm Kinney
Assistant Engineer  – Chuck Trammell
Engineer, Remix – Don Hahn
Mastered By – Bernie Grundman
Book photography by  – Andy Kent, Dennis Callahan, Neil Preston, Randy Alpert,
Ron Phillips, Jim McCrary, Patricia Reynolds, James Fee
Design – Phil Shima

Produced for Quincy Jones Productions
Recorded from February 1st to March 21st, 1977 at A&M Recording Studio “B” Hollywood, California


This post is right on time to break the silence of nearly two months without a blog post. Flabbergasted Vibes (the blog) is on life support and the plug could be pulled any day, if not by me than by a Higher Power.  There’s been enough dying in 2016 without adding this place to the list, but my enthusiasm is definitely at low tide in the grand ebb and flow of things.

Sure, it seems like the world has come unstuck – personally, professionally, politically – but none of it is really a surprise.  I don’t have much to say about this particular album at this particular moment.    Spinning a well-worn dusty classic is about all I’ve got left, and I’m finding even that doesn’t cut it on most days.  But if you  are pressed for time on your way to the fallout shelter and unable to deliberate at length, you could do worse than randomly grabbing this off the shelf with a few other long-players.  I hope you had the foresight to equip your survivalist shelter with a working turntable and speakers.  And a bicycle, for generating electricity off the grid, obviously.

The instrumental reliability of The Brothers Johnson is beyond dispute, and here they have some big cheeses in their pantry to help serve up the funk – Harvey Mason on drums, the Tower of Power horns, Ralph McDonald on percussion, David Grusin and Ian Underwood on keyboards.  And, of course, the whole thing is greased with Quincy Jones’ aural butter to keep the smooth proceedings from ever getting so hot that they scorch.  Burnt, crispy funk was not Quincy’s thing.   The title-track, which strives a little too hard for silliness, is maybe a little boring and could use a little extra grit.  It’s hard to fault anything else though.  The highlight is naturally their cover of the Shuggie Otis’ song Strawberry Letter 23 .   Shuggie has always been “a musician’s musician,” and it’s not as if he was an unknown when he recorded this song for his second LP in the early 70’s.  But the fact that it wasn’t the huge hit it could have been the first time around just meant that the world got to enjoy it twice.  The Brothers Johnson version, which came out a full six years later, is remarkably faithful to the psychedelic spirit of the original.  Maybe it is less cryptic and more mysteriously happy.  Quincy’s production pushes it into heavenly and exciting places, and it sports an epic  layered guitar solo by Lee Ritenour too.  Has Tarantino ruined this song yet by making it the background for some ultraviolence?  I think he has but I can’t remember where.   There are some fine original songs here too in a similarly breezy, windows-rolled-down summer spirit.  In fact the opening and closing tracks of the LP could have been written as bookends to accommodate Strawberry Letter, which is sequenced squarely in the middle of the album (first song on Side 2).  There are a couple of tight instrumentals too.  But yeah, no doubt, Strawberry Letter 23 is the showcase piece here.

Is this the last post of 2016?


mp3 iconflac button

24bitpasswprd: vibes

MFSB – Summertime (1976)

folder

MFSB – Summertime
Vinyl rip in 24-bit/96 kHz | FLAC | m3u|  Artwork
800 MB (24/96) + 330MB (16/44) + 105 MB (320 kbs)| Funk, Disco, Soul| 1976
Philadelphia International Records ~ PZ 34238


Picnic in the Park (Gamble & Huff) 4:10
    Summertime (George Gershwin) 4:53
   Plenty Good Lovin’ 4:33 (Gamble & Huff)
    Sunnin’ and Funnin’ (John Whitehead, Gene McFadden, Victor Carstarphen) 4:14
    Summertime and I’m Feelin’ Mellow (John Whitehead, Gene McFadden, Victor Carstarphen) 4:00
   I’m on Your Side 3:30 (Gamble & Huff)
   Hot Summer Nights 4:25 (Gamble & Huff)
    We Got the Time (John Whitehead, Gene McFadden, Victor Carstarphen) 4:41

Bobby Eli, Norman Harris, Reggie Lucas, Roland Chambers, T.J. Tindall – guitar
Anthony Jackson, Ron Baker – bass
Leon Huff, Lenny Pakula, Eddie Green, Harold Ivory Williams – keyboards
Earl Young, Karl Chambers, Norman Farrington – drums
Larry Washington – percussion
Vincent Montana, Jr. – vibraphone
Zach Zachary, Tony Williams – saxophone
Don Renaldo and his Strings and Horns
Barbara Ingram, Carla Benson, Evette Benton, Gene McFadden, John Whitehead, Victor Carstarphen – backing vocals


Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply; Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair, manually auditioned, and individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.


02 - Back

Even when I attempt a timely, topical post, it’s still kind of late.  I mean, I could be posting a Bobby Hutcherson album recorded by Rudy Van Gelder (two birds with one stone), or something from my stash of calypso and soca in solidarity with Notting Hill carnival (happening right now).  But instead I am bringing a soundtrack for the summer, which in the 24/7 stress culture of over-planning and anxiety in the United States is unofficially drawing to a close, even though there’s nearly another month of it.   But then again, we have a pretty strong South American readership at this blog, and quite a few friends in Australia, and they’re summer hasn’t even BEGUN yet, so really I’m just trying to cover all the bases here.

M.F.S.B. is most famous for having given us the immortal theme song to the show Soul Train (whose title was another acronym, T.S.O.P, for The Sound of Philadelphia), but you’ve also no doubt heard them on dozens of hits since they were the studio house band for Gamble & Huff’s Philadelphia International label.  Sharing members with the Trampps and the Salsoul Orchestra, the ensemble has had as many as forty people pass through its ranks.  Aside from the Latin disco-tinged spin on the Gershwin tune that gives the album its name, the songwriting and production credits are nearly evenly split, with Gamble & Huff taking half and Gene McFadden, John Whitehead, and Victor Carstarphen providing the rest.  Of the latter, McFadden and Whitehead had given us the O’Jay’s ‘Backstabbers‘ and would deliver their own ‘Ain’t No Stopping Us Now‘  a few years later, while Carstarphen gave us “Wake Up Everybody” from Harold Melvin & The Blue Notes, among others.  The first cut, Picnic In The Park, was a minor chart hit off this record.  To me it seems like a strange choice for a single, but that’s because I find the song better suited for the impending doom of a tense movie scene, setting up a child abduction or drive-by shooting, rather than a soundtrack for a relaxing summer day.  I guess I’ve always been one of those glass-half-empty types?  It’s a cool tune though, and the guitar riff engages in some accidental ska rhythms. (Incidentally, the name of my band in high school was Accidental Ska…)

While not as memorable as, say, their Music Is The Message album, it’s a fun spin of summer-themed tracks.  And you can populate them with your specific memories and meanings, as their almost-instrumental format – featuring choruses with vocals, but no verses – lends itself to daydreaming.  In fact, as with some of their other LPs, I can’t help feeling like some of these were half-finished tunes intended for singers on the Philadelphia International label which never came to fruition.  In an parallel universe, then, some of these songs were massive smash hits that everyone knows, and you are using this record for your next karaoke party (because it is a known fact that karoake is popular all throughout the multiverse).


mp3 icon


 flac button24bitpassword: vibes