From top left to bottom right:
Antonio Adolfo e Brazuca (1970)
João Nogueira (1972)
Paulo Moura – Fibra (1971)
Ray Barretto – Indestructable (1973)
Bobby Hutcherson – Now! (1969)
Alaíde Costa – Canta Suavamente (1960)
Some reups for all of you while I am busy with other things. Please report any erroneous links you come across, cheers.
Betty Wright
I LOVE THE WAY YOU LOVE
1972 Alston Records (SD 33-388)
I Love The Way You Love 3:20
I’ll Love You Forever Heart And Soul 3:40
I Found That Guy 3:35
All Your Kissin’ Sho’ Don’t Make True Lovin’ 2:35
If You Love Me Like You Say You Love Me 3:10
Clean Up Woman 2:40
I’m Gettin’ Tired Baby 2:40
Pure Love 2:20
Ain’t No Sunshine 3:20
Don’t Let It End This Way 2:50
Let’s Not Rush Down The Road Of Love 2:54
Backing Vocals – The Reid Singers
Bass – David Brown, Edmund Collins, Ron Bogdon, Snoopy Dean
Design – Drago
Drums – Ivan ‘Nick’ Marshall, Jimmie Lee Harrell, John ‘Duck’ Sandlin, Robert Fergeson, Robert Johnson
Guitar – James Knight , Jess ‘Beaver’ Carr, Snoopy Dean, Willie ‘Little Beaver’ Hale
Horns – Memphis Horns
Piano, Organ – Arnold ‘Hoss’ Albury, Benny Latimore, Bobby Birdwatcher
Piano, Organ – Clarence Reid
Rhythm arrangements by Little Beaver and Clarence Reid
Strings and horns arranged by Mike Lewis
Produced and engineered by Willie Clarke
Additional production by Clarence Reid
Liner Notes – Willie “Moon Man” Bacote
Photography By – Bruce Mac Callum
Back cover design by Drago
———————-
Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge,
Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192
Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair;
individual clicks and pops taken out with Adobe Audition 3.0 – dithered
and resampled using iZotope RX Advanced (for 16-bit). Tags done with
Foobar 2000 and Tag and Rename.
———————-
* My copy of this LP is not pristine.. But it probably still sounds
better than any recent CD versions, and it has that nice warm vinyl
thing. The overall sound of this record, mix-wise, is kinda weird
anyway (see below).
This is a start-to-finish gland slam of an album for Betty Wright. Although she was only 18 or 19 years old when this album was released, it
was *not* her first record – that would be “My First Time Around” released when she was only 14. I don’t know what accounts for the long
break, I think she was finishing high school or something. Anyway she definitely doesn’t sound like a teenager, but a woman wise in the ups and downs of life and love. It kind of
blew my mind when I found this out. I mean I knew she had started out young, but I didn’t realize she was literally just a kid.
So, the music. This is mostly straight-up funky southern soul, with a lot of Miami-area musicians. Alston Records would become TK Records in a few
years. The record jacket has no session information on it, probably because they would have had to pay the type-setter more than they had in
their budget. You can tell from listening to it that it sounds like it was recorded at a bunch of different sessions, and a glance at the
credits with the insane number of bassists and drummers confirms that.
There are some weird cameo appearances here – one of the drummers is Johnny Sandlin, later of Capricorn Records in Georgia, and one of the keyboardists is Benny Latimore later, um, of the band Latimore. This LP seems to have been patched together from material recorded between 1970 and 1972. “Pure Love,” ,”Clean Up Woman,” “I Love The Way You Love,” and “I Found That Guy” (a remake of The Jackson 5’s “I Found That Girl” ) were all released between 1970 and the release of this LP in 72. And for a patchwork quilt, the material all hangs together really well. The arrangements by guitarist Little Beaver and Clarence Reid are fantastic. The fidelity is weird in places, even when the actual mixes are all consistently good.
Little Beaver (real name Willie Hale) and Reid wrote most of the material between the two of them. Producer Willie Clark gets writing credits on everything that isn’t a cover song here, which makes me kind of suspicious that maybe he just added some cowbell and insisted on a credit. Just kidding, there is no cowbell on this album!
If you are collecting cover versions of Bill Withers’ “Ain’t No Sunshine” like I am (there are dozens!), this is one is a good addition to your collection. Holy crap listen to that bass guitar line! How did they get that tone? They kind of sweeten up the “I know, I know, I know…” part, and it works. Variety is the spice of life. “If You Love Me Like You Say You Love
Me” is the one big stylistic shift as Betty takes on Northern Soul and serves it up righteously. But really this whole record is a reminder of why I am in the end a Southern Soul lover at heart. Also, although “Let’s Not Rush Down The Road Of Love” is an original composition, you might recognize what the band is playing during the intro part where Betty speaks over it – it’s a note-for-note
stolen arrangement from Isaac Haye’s “Walk On By.” It’s no “Ike’s Rap” but its pretty neat.
You know, since this post started out with me talking about how damn young Betty was here, I can’t resist saying something contemporary, against my better judgement. Lately there has been a lot of flap in the news about a certain Disney pop star who can’t keep her tongue in her mouth. I dunno, I think she had been a mouseketeer or something, I’m not interested in the slut-shaming nonsense that seems to have been provoked from mostly white, mostly American people. I am not interested in whether she is setting an example for young girls. But I am interested in pointing out this – I do not find Miley Cyrus the least bit sexy. What do I find sexy and inspiring? Talent. That’s why Ms. Cyrus and the dozens more just like her will never hold a candle to Betty White’s flame.
THE NEW BIRTH
Blind Baby
1975 Buddha Records (BDS 5636)
Blind Baby 4:30
Dream Merchant 4:20
Forever 4:45
Granddaddy 3:55
I Remember Well 5:21
Blind Man 4:45
Why Did I 4:30
Epilogue 2:37
Produced for Basement Productions, Inc.
Recorded at Sunwest Recording Studios, Hollywood.
Mixed at Wally Heider Studios, California.
Austin Lander – Baritone Saxophone, Percussion, Backing Vocals
Robin Russell – Drums, Percussion
Charlie Hearndon – Guitar
Leroy Taylor – Guitar
Carl McDaniel – Guitar, Backing Vocals
James Baker – Keyboards, Trombone, Piano, Tuba, Clavinet, Timbales, Percussion
Alan Frey – Percussion, Congas, Vocals
Tony Churchill – Tenor Saxophone, Vibraphone, Backing Vocals
Robert Jackson – Trumpet, Percussion, Backing Vocals
Londie Wiggins – Vocals, Percussion
Leslie Wilson – Vocals, Percussion, Mandolin
Engineer – F. Byron Clark
Photography By – Ed Caraeff
Producer – James Baker, Melvin Wilson
Art Direction – Milton Sincoff
llustration – William S. Harvey
Ripping specs:
Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair; individual clicks and pops taken out with Adobe Audition 3.0 – dithered and resampled using iZotope RX Advanced (for 16-bit). Tags done with Foobar 2000 and Tag and Rename.
Artwork at 600 dpi (for hi-res), downsampled to 300 dpi for Redbook
This is The New Birth’s first album after leaving RCA, made for Buddha Records, and it’s probably my favorite record by the group. The tunes are strung together like a concept album; it’s not really a concept record but it does have a Mellotron on it. “Blind Baby” is graced with great original songwriting that had come a long way
since their first early 70s efforts, all played and sung with chops and
passion and captured brilliantly by the wizards at Wally Heider Studio. The tunes span from gritty funk, to sweaty soul jazz, to sweet soul
balladry. “Dream Merchant” was the hit off the record but there isn’t a
bad song on it. The firecracking “Grandaddy” was featured on Flabbergasted Freeform Radio No.3. The New Birth had a sickly huge twelve-person lineup at this point, expanded with members of The Nite-Liters, and they never sounded better. One secret weapon among many was lovely vocalist and Louisville native Londie
Wiggins, who occasionally hits high notes in whistle-register Minnie Ripperton territory. She carries the lead on “Forever” and “Why Did I.”
Her intonation isn’t always spot on but, you know, they didn’t have
Autotune in 1975 to make everyone sound as equally “perfect” and bland
as everyone else. The New Birth made quite a few records and I’m sure other people have their own particular favorites, but for me this one is the cream of the crop.
From top left to bottom right: Londie Wiggins, Carl McDaniel, Alan Frey, James Baker, Robin Russell, Leroy Taylor, Robert Jackson, Tony Churchill (who is a Pisces), Leslie Wilson, Melvin Wilson, Austin Lander, Charlie Hearndon
100% Pure Poison
Coming Right At You
Released 1974 EMI-UK
A1 You Keep Coming Back (3:24)
A2 No More City, No More Country (6:54)
A3 Boarding Pass (3:46)
A4 Holes In My Shoes (3:42)
A5 My Little Someone (4:28)
B1 Windy C. (5:35)
B2 (But You Say) You Want To Make It With Me (4:31)
B3 Don’t Let Your Pride, Overpower Your Love (4:37)
B4 (And When I Said) I Love You (5:15)
B5 Puppet On A Chain (3:53)
Bass: Lawrence Reynolds
Composed By: Danny Leake , Lawrence Reynolds , Marvin Daniels
Guitar: Danny Leake , James Williams
Keyboards: James Williams
Organ: Steve Maxwell
Percussion: John Jackson, Pie Harrison
Producer: Danny Leake , Rick Hartung
Saxophone: Jackie Beard
Trombone: Slide Beard
Trumpet: Marvin Daniels
Vocals: Jackie Beard , Marvin Daniels , Pie Harrison , Slide Beard
Produced by Danny Leake and Rick Hartung
The song “Windy C”
This legendary album has long been out of my financial reach on vinyl and I have had to content myself with the a 2002 CD reissue. Kudos to Soul Brother for releasing it and making it accessible to a broader public beyond greedy collectors with deep pockets, but the sound quality was pretty much crap. I must say that the record gained a new lease on life when I found a really nice needledrop from a skilled vinyl ripper. I don’t typically like sharing other peoples’ vinyl rips here but the quality of both the music and the audio, coupled with the fact that I will most likely never own an original copy, compelled me to break my loosely-held rule. So, all credit goes to Euripedes for the transfer.
The Soul Children
Friction (1971) / Genesis (1974)
Reissue 1999 Stax SCD-88038-2
are J. Blackfoot, Norman West, Anita Louis, Shelbra Bennett
GENESIS, 1972 Stax (STS 3003)
01 – I Want To Be Loved (Sam D. Bell) 8:24
02 – Don’t Take My Sunshine (Bobby Newsome) 3:59
03 – Hearsay (John Colbert, Norman West) 3:38
04 – All That Shines Ain’t Gold (John Gary Williams, Tommy Tate) 3:55
05 – It Hurts Me To My Heart (Bettye Crutcher) 3:00
06 – I’m Loving You More Everyday (James Mitchell) 4:52
07 – Just The One (I’ve Been Looking For) (A. Isbell, E. Floyd, S. Cropper) 3:20
08 – Never Get Enough Of Your Love (Eddie Floyd) 4:22
09 – All Day Preachin’ (Bettye Crutcher, Bobby Manuel) 3:55
10 – Get Up About Yourself (Carl Hampton, Homer Banks, Raymond Jackson) 4:12
Produced by Jim Stewart and Al Jackson, Jr.
Track 1:
James Alexander – bass
Michael Toles – guitar
Allen Jones – organ
Howard Grimes -drums
Tracks 2 through 9:
Piano and organ – John Keister, Marvell Thomas
Guitars – Raymond Jackson, Bobby Manuel
Donald “Duck” Dunn – bass
Al Jackson, Jr. – drums
Track 10:
Carl Hampton – piano
Raymond Jackson, Michael Toles – guitars
James Alexander – bass
Al Jackson, Jr. – drums
Produced by Carl Hampton, Homer Banks, and Raymond Jackson
————————————————————
String arrangements – Dale Warren
Engineered by William Brown, Bobby Manuel, Eddie Marion, Daryl Williams, Dave Purple
===============================================
FRICTION, 1974 Stax (STS 5507)
11 – I’ll Be The Other Woman (Banks-Hampton) 3:36
12 – What’s Happening Baby (Banks-Hampton) 6:42
13 – Can’t Let You Go (Banks-Hampton) 4:47
14 – It’s Out Of My Hands (Banks-Hampton-Jackson) 3:24
15 – Just One Moment (Banks-Hampton) 4:58
16 – We’re Gettin’ Too Close (Banks-Hampton) 3:52
17 – Love Makes It Right (Banks-Hampton) 5:52
Lester Snell – Piano
Carl Hampton – electric piano
Charles Pitts, Michael Toles – guitars
James Alexander – bass
Willie Hall – drums
Tracks 11 & 15: Bobby Manuel, guitar / Donald “Duck” Dunn – bass / Al Jackson, Jr. – drums / The Memphis Horns / Memphis Symphony Orchestra
Produced by Homer Banks and Carl Hampton (Al Jackson, Jr. also co-produced “I’ll Be The Other Woman”)
Arrangements by John Allen, Carl Hampton, Homer Banks. Engineered by Pete Bishop
___________________________________________________________
1999 remastering at Fantasy by Kirk Felton and it SOUNDS REALLY GOOD
___________________________________________________________
With over a dozen soul and R&B hits to their credit, it is a shame The Soul Children aren’t more better remembered for their contributions. These last two records for the original Stax label are quality, top-notch soul ,but at this point the Stax label wasn’t too far away from bankruptcy and a lot of records were criminally under-promoted. I think “Genesis” is particularly stellar and it’s my favorite of the two, perhaps because it has more of a gospel deep-groove swing to it, and a lot of people feel that “Friction” was their peak.
1972’s “Genesis” has a great set of songs contributed from the likes of Eddie Floyd, Chicago’s Bobby Newsome, and Bettye Crutcher. The backing musicians included members of the reconstituted M.G.’s and The Bar-kays and also feature Howard Grimes (of Hi Records) on the drums for what may be my favorite song here – the very first. It should probably surprise nobody that a vocal group put together by Dave Porter and Isaac Hayes (who played on their early records) would be adept at the type of long slow-burner that opens up the album, “I Want To Be Loved.” They dig into this tune with an impassioned flare that sets it apart from Hayes’ epic cool delivery, however. After a suspenseful minute’s worth of subdued build-up, the rhythm section drops out as Anita and Shelbra launch into some intense gospel harmonies and eventually a brief sermon crowning love over the material things in life, and then Blackfoot comes tearing in with his gritty response and ups the ante. The group on “Genesis” reminds me a little of the early records by label-mates The Emotions, but with the added bonus of a male-female dynamic. The bigger of the hits on this record was “Hearsy”, penned by Blackfoot and West, and it has a very M.G.-ish vibe to it, which is fine, but it also may be the least interesting song on the record. “It Hurts Me To My Soul” is a favorite of mine here, and in fact I played it on one of my podcasts.
“Friction” was apparently a concept album based around the idea of cheating and being cheated on. The record is admirable in the way it traces a narrative from start to finish without any kind of heavy-handed high drama. But in some ways I kind of think the idea could have benefited from trying it as a ‘soul opera.’ They could have brought in special guests with assigned roles, Johnnie Taylor as “Jody,” Isaac Hayes as whoever he wanted to be (except Truck Turner)… As it stands, the record is almost too downbeat for me (all the songs are slow to mid tempo except for “We’re Getting To Close”), but then again it has been a long time since I have had any nasty breakups involving cheating partners, so maybe that’s what it takes to bring out the best in this album. The bookends of the album are undeniable classics, “I’ll Be The Other Woman,” and “Love Makes It Right” are powerful and honest explorations of themes that get glossed over with cliches in even some of the best music. In fact, let me extend that statement to all the tracks here – “Friction” really is a sophisticated treatment of an eternal and complex subject, and deserves a lot of credit as a unique artist achievement in the Stax canon. It’s just that I don’t dig listening to it as much as “Genesis.” Maybe it is the fact that all the songs were written by the production team of Hampton/Banks leaves the songs with less melodic and dynamic variety than the previous record with its overflow of writing talent. Or maybe it’s that I prefer the MGs and Bar-kay’s (reconstituted though they may have been) to the instrumentalists on “Friction.” With a group as good as The Soul Children, this is kind of like trying to decide which of your luxury cars you are going to drive today – in the end, it’s a quibbling born of privilege.
In putting together this post I discovered that Shelbra Bennett passed away at the end of May of this year. She was the first of the four members to go her own way (I think) career-wise but not the first to pass away: J.Blackfoot died in 2011.
password: vibes
Brother To Brother
Let Your Mind Be Free
Turbo Records (TU-7015)
A1 Let Your Mind Be Free 3:28
A2 Visions 6:52
A3 Chance With You 4:46
A4 Phattenin’ 3:28
B1 Groovy Day 2:54
B2 Take My Love 6:07
B3 Leavin’ Me 6:17
B4 Joni 3:15
Ripping process
Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue
Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio
Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; Click
Repair light settings, sometimes turned off; individual clicks and pops
taken out with Adobe Audition 3.0 – dithered and resampled using iZotope
RX Advanced (for 16-bit). Tags done with Foobar 2000 and Tag and
Rename.
Bass Guitar – Jonathan Williams
Congas, Voice, Other [Special Thanks] – Craig Derry
Drums – Clarence Oliver
Orchestrated By – Sammy Lowe
Producer, Arranged By, Lead Guitar, Rhythm Guitar, Bass, Clavinet, Organ, Voice – Billy Jones
Producer, Piano, Synthesizer [Moog, Arp], Clavinet – Bernadette Randle
Voice – Billy Brown, Joan Abbott, Linda Parker, Tommy Keith, Walter Morris
Design , album artwork – Dudley Thomas
Engineer – Allan Tucker, Richie Corsello
Other [Special Thanks] – “Shag” Taylor, Al Goodman, Barry Diament, Mr. & Mrs. Joseph Robinson
Recorded and mastered at Platinum Recording Studios, Englewood, New Jersey. All songs published by Gambi Music, Inc. (BMI)
A Division of All Platinum Record Group
Platinum Record Co. 1976
Doc Tucker
Yes, Billy Jones!!
[Etched “shout-outs” runout area A]
Bernadette Says Hi, Too
Tucker
[Etched “shout-outs” runout area B]
Imagine yourself walking into a decent-sized club in 1976 to catch a
Kool and The Gang show only to find out that the bus carrying the horn section was broken down on the highway a hundred miles away. The band perseveres and puts on a great show anyway. That imaginary scenario
is a little bit like what my first time listening to this record. But
it’s an unfair characterization, because Brother To Brother does have
their own sound, and could really write some great tunes. The lack of a horn section gives lots of room for
the other instruments. In particular this is an analog keyboard-lovers
wet dream. The band had two keyboard players (both of whom double on other instruments in this largely studio-based project), and there are lovely textures of Fender Rhodes coupled with
clavinet, Hammond organ, and even a dreamy Moog and Arp instrumental track. The
band is tight and lean but never showy, and there are a few long tracks that
really stretch out, like the languid Latin-Soul of “Visions” and the
fired-up funk of “Leavin’ Me” which was apparently released as one of
the singles.
Why did these guys never make it big, or at least
bigger? Well I don’t know much about them. The group was based around multi-instrumentalists Billy Jones and Bernadette Randle. Their only big hit was a cover
of Gil Scott-Heron’s “The Bottle”, which ended up on their debut album. Their albums were released on
the Turbo imprint which was part of the Platinum family of labels founded
by Sylvia Robinson, who also gets a co-writing credit on the only ballad
here, “Take My Love.” Platinum (sometimes known as “All Platinum”)
eventually folded but Robinson reemerged with the famous and seminal Sugar Hill Records. In 1976, the music world was flooded with
funk, making these guys just a couple more fish in a big ocean. I can testify that I have a lot of records with a few
great tunes on them but a lot of filler, yet this album doesn’t have any turkeys. “Chance With You” should have been a hit song, and “Leavin’ Me” is a monster although its length would probably keep it off the radio. And it gets better with repeated listens.
The only ballad on the album,
“Take My Love,” has a really nice vibe but could have used a bridge section to break up its
six-minute length. I think that’s a pretty minor quibble, though, especially given the obligatory inclusion of questionable ballads on funk albums by this point. The cluster of inverted chords in the progression gives this is a
nice midwestern-soul-jazz inflection. I dig it. The only other quibble is with
the mastering of the LP: there doesn’t seem to be any. I know that
here in the digital realm we tend to bitch and moan about digital CD
remastering. Well in this case we’re brought back to the original point of LP mastering in the first place –
to give the tracks more consistency as a whole and give it all that
little extra shimmer and magic. The tracks are all recorded and mixed
really well. In fact I really like the production choices. But some of
the tunes fail to “jump out” at you like they deserve. The obvious
concession for a shot at a crossover single, the Sly & the Patridge Family Stone-styled “Groovy Day” (the only song with horns, by the way), is the quietest song on the record, volume-wise. And the difference between the quietest tune
and the loudest tune on each album side is HUGE. These mixes could have benefited from being run through a good tube limiter, or at least some adjustments of overall track levels and a little
EQ to give the mixes some ‘air’ in the top end. Oddly enough, a young Barry
Diament gets a `thank you` on the album jacket, and he has an
engineering credit on their next album. Did he stop by the studio and
give them some pointers? Help set up their studio? Because this was
all recorded, mixed, and mastered in-house from the looks of it.
The song with the heaviest
“vibe” on the whole album is undoubtedly the Latin opium dream of
“Visions,” which must be why I chose to play it on my podcast a while back. I’ve come to just love this whole album.
A lot of variety on here. The last two songs have some incredible bass guitar tones, with just the right amount of over-driven amplifier, and the instrumental “Joni” features fuzzy guitar runs and a weird
disco-prog-rock arrangement.
password: vibes
A couple of YouTube samples below
