Billy Paul – 360 Degrees of Billy Paul (1972)

Billy Paul – 360 Degrees Of Billy Paul
1972 Philadelphia International Records ZX 31793
Vinyl rip in 24-bit/96kHz | FLAC |  Art scans at 300 dpi
932 MB (24/96) + 297 MB (16/44) |  Genre: Soul, Funk

Dr. Vibes 12 Days of Christmas – Day 10 – Second day in a row that I’m featuring somebody who I’ve wanted to feature here for years, but never have. Billy Paul, who passed only a few years ago,  without a doubt had the biggest hit of his career off this record, and one of the most famous soul hits of the 70s, “Me and Mrs. Jones”.  They had a thing goin’ on.  Lots of people with lots of different memories tucked away between the notes of that classic.    The whole record is prime cut Philly soul from start to finish though.  Some great Gamble & Huff originals and the cover tunes are extraordinary – Carole King’s “It’s Too Late” and Elton John’s “Your Song”, both covered by scads of other artists, get a top-shelf Billy Paul treatment here.

Continue reading

João Donato & Deodato – DonatoDeodato (1973)

João Donato & Deodato – DonatoDeodato
1973 Muse Records MR 5017

Vinyl rip in 24 bit 192 khz | Art at  300 dpi
24-bit 192 khz – 1.22 GB | 24 bit 96 khz – 645 MB | 220 MB 16-bit 44.1 khz
Jazz-Funk – Latin – Brazilian

 

Dr. Vibes’ 12 Days of Christmas – Day 5:  Quite a lineup on this short gem of a record. I mean, if I could have added Chuck Rainey, Idris Muhammad, and Phil Upchurch to it, it would have been PERFECT but heck, I’ll take this…  This is a nice, short, mildly psychedelic jazz-funk gem, if not quite the explosive results you might expect for a meeting of the minds like Donato & Deodato.  Ray Barretto and Airto are kept on kind of a short leash, for example.  Considering the total album time clocks in at around 30 minutes, one wonders why they couldn’t have stretched out a little more on a few of these tunes.  The band surely could have handled it.

Continue reading

Gil Scott-Heron and Brian Jackson – From South Africa To South Carolina (1975)

Gil Scott-Heron and Brian Jackson
From South Africa to South Carolina
1975 Arista Records AL 4044

01 Johannesburg 4:47
02 A Toast To The People 5:45
03 The Summer Of ’42 4:38
04 Beginnings (The First Minute Of A New Day) 5:36
05 South Carolina (Barnwell) 4:33
06 Essex 9:19
07 Fell Together 4:26
08 A Lovely Day 3:25 Continue reading

Tata Vega – Get It Up For Love / Just Keep Thinking About You Baby (1979)

Tata Vega – Get It Up For Love b/w Just Keep Thinking About You Baby
Motown M 00021D1
Format:Vinyl, 12″, 33 RPM, Single
Country:US
Released: 1979

A – Get It Up For Love  5:58

Co-producer – Andre Fischer
Written-By – N. Doheny

B – I Just Keep Thinking About You Baby  5:34

Written-By – G. Cathey, H. Johnson Continue reading

Claudja Barry – Sweet Dynamite (1977) (Salsoul SRZ-5512)

Claudja Barry
Sweet Dynamite
1977 Salsoul Records SZS 5512
US Pressing

A1 Love For The Sake Of Love 7:53
A2 Sweet Dynamite 7:22
B1 Dance, Dance, Dance 6:43
B2 Live A Little Bit 3:28
B3 Why Must A Girl Like Me 7:21

Phonographic Copyright (p) – Salsoul Record Corp.
Manufactured By – Caytronics
Distributed By – Caytronics
Mastered At – Frankford/Wayne Mastering Labs

Credits

Backing Vocals – Claudia Schwarz, Roberta Kelly, Stefan Zauner
Bass – Dave King, Gary Unwin
Drums – Keith Forsey
Keyboards – Thor Baldursson
Percussion – Jorg Evers, Jurgen S. Korduletsch
Saxophone – Pepe Solera

Arranged By – Jorg Evers
Mastered By – Jose Rodriguez
Mixed By – Tom Moulton
Photography By – Michael Doster
Producer – J. S. Korduletsch
Written-By – Evers, Korduletsch
Engineer – Jurgen Koppers, Peter Ludemann

 Notes
An original Lolilipop Recording.
Manufactured and Distributed by Caytronics Records.
A Cape Music Company.

1977 Salsoul Record Corporation

Deadwax inscriptions:
SZS 5512A-REV1 TM/JR
SZS 5512B-REV1X TM/JR

LINEAGE INFO
Salsoul SZS 5512 vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; AUdioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on very light settings, manually auditioning the output, and often turned off for large sections of this record; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.


Forgot protest music, forget Eminem – disco is the best weapon against your classic-rock / “new” country-listening Trump supporter neighbor and his or her dreams of a white ethnostate. It has all the right elements to churn their schizo-paranoid, alternate fact-fueled persecution complex – this music was a conspiracy of people of color, The Gays, women, and Europeans to threaten their hegemony and prevent bands named after notorious concentrations of normative whiteness, like Boston or Kansas, from reaching the top of the Billboard charts.  Absent an explicit political message, it espoused an ideology of equal parts tolerance and hedonism, of the pure physicality of getting everybody off their sofas and away from watching the squares on Hollywood Squares, commanding them to get up and mix all their sweaty limbs together in one gelatinous mass of grooving, gyrating joy over the simple gratitude of still being alive after Vietnam, surviving Nixon, and paying obeisance to unrelenting 4/4 beats and the deliverance of music.  Sure, the Khmer Rouge was committing genocide with the complicity of agents of “Western Democracy” and the CIA was preparing itself to try and crush the Sandinistas, but for a few hours every night, in cities around the world, DJs would spin records like this almost defiantly funky debut album by Claudja Barry – a Jamaican-born, Canadian raised singer, professionalized in London before winding up in West Germany, where she married this album’s producer and principal songwriter, Jurgen Korduletsch.

And what a hard-hitting debut record this is, thanks in no small part to the aggressive mixing of Tom Moulton, who worked closely with mastering engineer Jose Rodriguez. Their work is a great example of judicious and creative use of compressors and limiters to create records where everything seemed crisp, loud, and punchy but without squashing everything to bits, still leaving room for the dynamics to breath.  The way the mix on a song like “Love For The Sake Of Love” is built up layer by layer is very satisfying.  Not especially innovative, but satisfying – it could be a didactic example in an audio production class of how to make  music that is as pleasurable  for listening as it is dancing. It is notable that the US pressing has a different track sequence from the European release and is missing several songs found there, such as the questionable cover of Steely Dan’s “Do It Again.”  I don’t know what the story is but I can imagine Donald Fagen litigating against Salsoul or something. Surely a disco-funk version of his song drove him nuts, and they even messed with his lyrics!  It was released as a single, so without knowing the chronology I suppose it could have been added to those Euro releases later (I don’t think it was mixed by Moulton, either), but given the 31-minute running time of the US version, it sure feels like it was cut.  In my personal opinion, you’re not missing much.  The first four tracks on this album are all monsters, with the solid and steady drum work of Keith Forsey (who worked with Giorgio Moroder among others) laying down the bedrock.  The instrumental track “Live A Little Bit” seems to be intentionally reminding us of Claudia’s island roots.  It’s pleasant but doesn’t really go anywhere.  “Why Must A Girl Like Me” is the weakest cut here, eschewing the hard edge of the earlier tracks for a more pop sound.  Mileage may vary and I would forgive you for stopping the record and putting on something else at this point.  And hey, if anybody knows who played guitars on this record, leave a comment – the rhythm guitar work here is excellent, as are small tasty but tiny lead lines on the album’s opener.  The band (as credited on reissues, no personnel is listed on the LP jacket) is comprised of a hodgepodge of US and Berlin-scene musicians as well as Italian sax player Pepe Solera.

The CD format in general has not been kind to Tom Moulton – most of the Salsoul catalog has recently been manhandled by reissue labels who brickwall the shit out of everything they release.  This album may have been spared the so-called ‘loudness wars’, at it seems it was reissued once in 1993 (before everything began to be mastered for iPods or car stereos) and then only in Japan in 2014, where people still care about sound quality.


password: vibes