FOR FANS OF SOUL, 60,s MOD,JAZZ, JAZZ FUSION,REGGAE AND BLUES MUSIC.....ONLY THE BEST QUALITY OF REVIEWS AVAILABLE! NOW A SUBSCRIBED BLOG AND REVIEWED FOR THE LOVE OF THE MUSIC - NO LINKS AVAILABLE ON THIS BLOG AND NO SHARING REVIEWS WHAT SO EVER PLEASE WITHOUT CONSENT..OR YOUR GONE.....HAVE RESPECT AND ENJOY YOUR VISITS ENQUIRIES OR REQUESTS TO allmusicman2@protonmail.com OR BACK UP EMAIL allmusicman22@yahoo.com
Here,s a very interesting Documentary for you all to enjoy while i,m gone to visit Family,so see you guys in a Weeks time....IF YOU REQUIRE ANY LINKS COMMENT BEFORE SUNDAY MIDDAY(GMT).....stay safe all......laters!!! ...LINK BELOW PICTURE...AS WITH ALBUMS NO SHARING PLEASE....thank you
https://pixeldrain.com/u/HBYyxHX2
Having Bought This Great Box Set as a New release in 2016 does not deter me from Letting you guys send in Albums you want to share as in this case.So Tennesseeboy was good enough to send these in so i,ll hand the review over to him.Ive added the artwork,etc...
The four volumes of Loma A Soul Music Love Affair are the result of several years of in-depth research into the Loma vault by Future Days Records. This first installment concerns itself with the category that has made Loma such a celebrated imprint to fans: Northern soul aimed strictly at the dancefloor. Acknowledged floor-fillers like Ben Aiken’s “Satisfied” and Ike & Tina Turner’s “Somebody (Somewhere) Needs You” nestle with sought-after rarities by The Soul Shakers, Marvellos, and Voice Box. There are classics from The Olympics and Apollas, overlooked gems by The Jammers and Paul Days, an unissued stomper from Bobby Freeman, and the legendarily withdrawn single by Bob & Earl.With full historical notes on artist and label history and rare pieces of ephemera, Loma: A Soul Music Love Affair is a fresh and invigorating celebration of one of 60s soul’s most storied imprints.
This first installment Volume 1 Somethings Burning 1964-1968 concerns itself with the category that has made Loma such a celebrated imprint to fans,Northern soul aimed strictly at the dancefloor.Acknowledged floor-fillers like Ben Aiken’s “Satisfied” and Ike & Tina Turner’s “Somebody (Somewhere) Needs You” nestle with sought-after rarities by The Soul Shakers, Marvellos,and Voice Box. There are classics from The Olympics and Apollas, overlooked gems by The Jammers and Paul Days, an unissued stomper from Bobby Freeman, and the legendarily withdrawn single by Bob & Earl.
Volume Two of Loma Get In The Groove 1965-1968 A Soul Music Love Affair focuses on the funkier, earthier side of the Loma catalog and is once again the result of several years of in-depth research into the vault. JJ Jackson and The Mighty Hannibal bring the boogaloo, Baby Lloyd and Lukas Lollipop offer up some deep soul, and the stratospheric pipes of Carl Hall make us wanna holler. There’s the grooving original of “Try (Just A Little Bit Harder)” by diva Lorraine Ellison, little-heard rarities from Larry Laster and Roy Redmond, obscure productions by James Brown and Solomon Burke, and a heartbreaking unissued cut by one-time Hendrix sideman Lonnie Youngblood
Volume Three of Loma Sad Sad Feeling 1964-1968 Several years of in-depth research into the Loma vaults provide the content of The third volume. It celebrates the many sophisticated uptown productions on the label, mostly cut in New York under the auspices of Jerry Ragovoy, Van McCoy, George Kerr, Richard Tee, and other soul notables. Loma goddess and Aretha’s favorite singer Linda Jones gets us “Hypnotized” while Bobby Freeman spooks with “Shadow Of Your Love.” Rarities include soulful items from The Realistics, Bobby Reed, Mary Lee Whitney, and Tommy Starr, along with several unreleased titles, including heart wrenching nuggets by The Enchanters and Carl Hall, and the never before heard Bob & Earl gem “Just One Look In Your Eyes”.
Volume Four of Loma Sweeter Than Sweet 1964-1968 Last but not least,The unprecedented dig into the Loma Record vaults has thrown up a surfeit of soulful goodies for the final volume,many of which are previously unreleased.Northern soul fans will marvel at the dancefloor potential of The Marvellos’ “I Need You” or The Invincibles’ “Heartstrings.” Aficionados of the Jerry Ragovoy supervised uptown sound will groove on Carl Hall’s “Like I Told You” and Ben Aiken’s “That’s All You Gotta Do.” The tracklist also shines light on many unfairly overlooked entries in the Loma listings by the likes of Linda Jones,Billy Storm,The Implements,and The Realistics,and yet more compelling cuts from The Apollas,Teen Turbans, and The Mighty Hannibal remind us just why we love Loma.
Soul music devotees have long wondered why Los Angeles didn’t field a
great 1960s soul record label like Motown or Stax. Hollywood was fast
becoming the recording capital of the country and Motown would indeed
relocate here by the end of the decade. Couldn’t the town produce a
first-class soul label?
The question is not entirely fair to L.A. Motown and Stax filled
vacuums in Detroit and Memphis, respectively. Both cities had much more
black musical talent than they did recording outlets. In L.A., on the
other hand, all of the major labels were represented, and a
constellation of smaller indies such as Original Sound and Del-Fi
operated around them. The two long-established rhythm and blues
companies, Modern and Specialty, had catalogs dating back to the 1940s
but more or less sat out the ’60s soul boom that exploded all around
them.
AMM
ALBUM REVIEW COURTESY OF TENNESSEEBOY
A TASTER BELOW!
Tracks
01.Ben Aiken - Satisfied
02.Bob & Earl - Everybody Jerk
03.Charles Thomas - The Man With The Golden Touch
04.The Apollas - Pretty Red Balloons
05.Bobby Freeman - I'm A Lover
06.The Soul Shakers - I'm Getting Weaker
07.Delilah Kennebreuw - Bright Lights
08.The Jammers - Where Can She Run To
09.Ike & Tina Turner - Somebody(Somewhere)Needs You
10.The Voice Box - Baby, Baby Don't You Know(That I Love You)
11.The Marvellos - Something's Burning
12.Tony Amaro & The Charitos - Runnin' Around
13.The Apollas -"You're Absolutely Right
14.Paul Days - Wake Me Up Baby
15.The Olympics - Good Lovin"
16.Linda Jones - My Heart Needs A Break
Tracks
01.The Mighty Hannibal - Get In The Groove
02.Carl Hall - You Don't Know Nothing About Love
03.J.J. Jackson - Come See Me (I'm Your Man)
04.Baby Lloyd - There's Something On Your Mind (Part One)
05.Roy Redmond - Ain't That Terrible
06.Walter Foster - Your Search Is Over
07.The Olympics - Rainin' In My Heart
08.Lorraine Ellison - Try (Just A Little Bit Harder)
09.Carl Hall - The Dam Busted
10.Kell Osborne - You Can't Outsmart A Woman
11.Lukas Lollipop - Don't Hold On To Someone (Who Don't Love You)
12.Larry Laster - Help Yourself
13.The Mighty Hannibal - Good Time
14.J.J. Jackson - Too Late
15.Little Joe Cook - Don't You Have Feelings
16.Lonnie Youngblood - Callin'
Tracks
01.Linda Jones - Hypnotized
02.The Autographs - Sad, Sad Feeling (Part One)
03.The Enchanters - I Paid For The Party
04.The Invincibles - Can't Win
05.Carl Hall - He'll Never Love You
06.Bobby Reed - I Wanna Love You So Bad
07.Ben Aiken - If I Told You Once (I Told You A Million Times)
08.Bobby Freeman - Shadow Of Your Love
09.Little Jerry Williams - I'm The Lover Man
10.Bob & Earl - Just One Look In Your Eyes
11.Mary Lee Whitney - Don't Come A' Knockin'
12.Tommy Starr - Better Think Of What You're Losing
13.The Enchanters - To Get Your Love Back
14.The Realistics - If This Ain't Love
Tracks
01.The Marvellos – I Need You
02.Vicki Baines – Sweeter Than Sweet Things
03.Artie Lewis – Ain't No Good
04.Carl Hall – Like I Told You
05.The Implements – Ole Man Soul (Part One)
06.Linda Jones – You Can't Take It
07.The Olympics – No More Will I Cry
08.The Teen Turbans – We Need To Be Loved
09.The Mighty Hannibal – I'm Coming Home
10.Billy Storm – I Never Want To Dream Again (There In A Garden)
11.The Invincibles – Heartstrings
12.Ben Aiken – That's All You Gotta Do
13.Dick Jensen And The Imports – Back In Circulation
14.The Realistics – How Did I Live Without You
15.The Romeos – Mon Petite Chow
16.The Apollas – Just Can't Get Enough Of You
After a grand total of 10 albums, 40 singles and two years in business Mowest Records was closed down by Berry Gordy in 1973 and swiftly swept under the carpet as Motown tried to keep the train moving forwards. A sad and slightly undignified end to a label that was arguably way ahead of its time.Mowest was set up in 1971 by Gordy as a subsidiary of Motown Records and was based on the west coast of the U.S. in Los Angeles. Gordy had been living in L.A. since the late-Sixties and was gradually shifting the whole Motown operation from Detroit to the west coast where he saw Motown being far more involved in the booming movie and TV industry. Whether Mowest was a way for Gordy to identify some talent and dip his toe in the west coast water before moving the whole Motown family over is open to conjecture but the music the label created is some of the most diverse and creative released on any of the labels associated with the Detroit behemoth.The label’s first release and not necessarily its finest hour was the well-meaning but rather nauseous ‘What the World Needs Now’ by Detroit DJ Tom Clay. This became an unexpected hit selling over a million copies and paved the way for a variety of acts to follow with no specific genre or identity restricting them. This was both a blessing and a curse for Mowest. On the downside, unlike Motown and many of their other subsidiaries, they had no identifying sound which could be readily marketed but instead had to rely on people hearing the music first before buying the record – this meant relying on radio airplay. The problem with this was that the Motown marketing team were just that – a marketing team for Motown Records and little if any support was given to the new label on the other side of the country, in addition the main focus was on the big names such as Stevie Wonder, Marvin Gaye, Diana Ross and the Jackson 5 where big hits were pretty much guaranteed. The upside to the lack of restriction on genres meant a real variety of sounds came out on Mowest which at the time probably didn’t help them much but looking back has left a legacy of quality and variety that is a joy to behold.
The lack of any musical restrictions at Mowest saw artists such as Suzee Ikeda, the first Asian-American on a Motown label who, whilst she didn’t have any hit records, went on to become an influential member of the back-room staff at Motown working closely with Michael Jackson, the Temptations and Diana Ross. Thelma Houston’s early work was on Mowest as was that of the Commodores, Syreeta (then Stevie Wonder’s wife), the Crusaders plus Frankie Valli and his Four Seasons. However if there is one band who sum up the whole sound and ethos of Mowest it has to be Odyssey. A band who were bought together to record on the label (and most definitely not to be confused with the New York based Odyssey who appeared a few years later and had assorted hits including ‘Native New Yorker’). The first Odyssey were the stand-out group from the Mowest roster and their epic single ‘Our Lives Are Shaped By What We Love’ has long been a favourite with the soul and jazz crowds. It has a sound not unlike Rotary Connection’s ‘Black Gold of the Sun’ which is epic, soulful, funky and big. You have to listen to it to understand what I am talking about but when you do you’ll be hooked. What a record! Odyssey also released an eponymous album on Mowest which contains another track that’s had a lot of interest in recent years called ‘Battened Ships’. A slightly different almost latin-tinged track but nevertheless a winner.Quite why Mowest lasted only two years is arguably down to a number of factors. As I mentioned above the Motown marketing department didn’t have the will or the inclination to promote such a small and insignificant label when they had bigger fish to fry. Stevie, Marvin, Diana and the Jackson 5 were much higher up the agenda. When new acts came to Mowest and caught the eye of Motown’s A&R people they were soon moved on to the larger Motown label where new artists were sorely needed. The label’s image or lack thereof was also an issue and many people perceived it as being ‘white soul’ rather than the ‘genuine article’. Dave Pell, a noted record company executive, musician and one-time president of the Grammys had been hired by Gordy as General Manager of the label but Gordy’s constant interference and micro-management caused rifts and eventually Pell was sacked when he didn’t want to do things Gordy’s way(shock Horror!...lol!).
Despite its demise Mowest had enabled Motown to get a foothold in L.A. and not long after it closed its doors Motown made L.A. its permanent home. What happened after this needs telling another time but suffice to say it wasn’t the roaring success many had hoped.
In June 2011 Light in the Attic records released a compilation of Mowest recordings entitled ‘Our Lives Are Shaped By What We Love: Motown’s Mowest Story 1971 -1973’ on CD and vinyl. If you want to find out what I am on about and don’t have the time, money or inclination to track down the original releases then i would have recommended it.But fortunatley for you due to the efforts of Bill & Eltel its all here 45 wise.Nice work Guys!
AMM
A TASTER BELOW!
ARTISTS AND TRACKS ON ALL BACK COVERS BELOW
Aquarian Dream was an obscure but noteworthy 1970s soul/funk band that,despite its association with Norman Connors,was unable to score a hit.The band was formed in 1976,when Connors brought it to Buddah and produced its debut album,Norman Connors Presents Aquarian Dream.That year,Dream’s lineup included lead singer Gloria Jones(not to be confused with the singer of the same name who sang the original version of “Tainted Love” in the 1960s),saxophonist Claude Bartee Jr.(who had a jazz background and had been a sideman for Grant Green, Pucho,and others),guitarist Pete Bartee,keyboardist Jacques Burvick,percussionist Mike Fowler,and drummer Jimmy Morrison.
In 1976,Norman Connors was hot in the R&B market.Having enjoyed major hits with “Valentine Love” and “You Are My Starship,” the Philadelphia jazz improviser-turned-soul-star was being denounced as a sellout by jazz’s hardcore while commanding a lot of respect in R&B circles.So when Connors produced Aquarian Dream’s debut album,Norman Connors Presents Aquarian Dream,in 1976,it should have done well.However,this little-known LP was a commercial disappointment (by R&B standards) despite Connors’ presence and despite the fact that the material is generally very good.The album detours into instrumental jazz-funk on “East 6th Street” but for the most part,it favors a sleek,sophisticated soul/funk approach that could be described as Connors-meets-New Birth-meets-Earth, Wind & Fire.Dream has an impressive lead singer in Gloria Jones,whose gospel-influenced belting serves the band well on cuts that range from the exuberant yet sentimental “I’ll Always Love You, T” and the mystical “Phoenix” to the gritty “Guitar Talk“.Like Dream’s two subsequent albums,Norman Connors Presents Aquarian Dream has long been out of print and it’s unlikely that it will ever be reissued on CD, but it’s worth obtaining if you’re able to track down a copy as its now quite hard to obtain....HERE WITH BONUS TRACK...A Cleverly Done Wonderful Album,still only available on Vinyl....Take a Bow Mr Connors..More to come from that Gentleman in due course!
AMM
THE TASTER BELOW!
TRACKS AND ARTISTS ON BACK COVER BELOW
One of THE greatest soul Voices of all time, thats how i rare this incredible lady and album!!! Kept in the vaults for 15 years due to Stax Records going bankrupt at the time of its intended release, Sandra Wright’s 1974 album ‘Wounded Woman’ is one of those perfect hybrids the much troubled label was putting out in its last years,Pure Southern Soul with a dash of gloss and a hint of smoothness.I Did post This Album On on the Soulscape UK CD "The Broadway Sound Sessions"(SSCD 7007) she shared with James Govan On the old Blog. Sandra was Born in 1948 and raised in Memphis, she began singing at age four and continued through school and church, eventually training to be an Opera singer at Tennessee State University. While attending TSU, Sandra was encouraged to enter a talent contest by fellow student 'Sweet' Charles Sherrelle (James Brown's Bandleader) and won singing Rhythm and Blues. Sandra remembers the blues and barbeque of Beale Street. Her first cousin was Blues legend Memphis Slim whom she adored. After college Sandra hit the road with the Canned Souls and in 1974, She recorded an album for Stax / Truth records, 'Wounded Woman'. After Stax was lost to the IRS ,Sandra sang at the New Modern Era club in Nashville for 17 years. It is there that B-3 master Moe Denham found her and she joined him and future SWB drummer Lloyd Herrman in a local band called Bordello. Sandra next joined Moe and Lloyd in Clarence 'Gatemouth' Brown's band touring the U.S. and Canada. In late 1989,she returned to Nashville and with Moe,John,Lloyd and guitarist Pete Marriott,started the Sandra Wright Band. Sandra and the band moved to Vermont in 1992. Sandra Wright suffered a blood clot and died in 2010. Only recording 2 studio albums and 11 x 45,s her following in the soul fraternity has been obsessive and relentless not to mention muh loved. Her legacy was to leave us with one of the greatest Soul Albums Ever Recorded!!!...Highly Recommended if you dont know her work!!!
A TASTER BELOW!
A TASTER BELOW!
Tracks
01.Don't Do Me
02.Shake You Down
03.Who To Believe
04.Another Hard Day
05.Be So Cold
06.Payin' The Price
07.Who Said
08.Can't Stand The Rain
09.Invested In You
10.I Don't Understand
11.Love And Happiness
Line Up
Sandra Wright - Vocals
Lloyd Herman - Drums
John Harris - Bass
Warren Haynes - Guitar & Slide Guitar on tracks 2 & 3
Pete Marriott - Rhythm & Lead Guitar,Vocals
Joe Wooten - Keyboards
Danny Louis - Keyboards
Sammy Figueroa - Percussion
This was Donnie,s Debut Album....Fantastic Soul!....Im posting the CD version for the extra track rather than the LP(most of my LP,s are worn out..thank god for CD,s) ...............Donny Hathaway,Sinnger, pianist, producer, composer, and one of R&B’s strongest talents—was born Donny Edward Pitts on October 1, 1945, in Chicago, Illinois. Hathaway was raised in the Carr Square Housing Projects of St. Louis, Missouri by his grandmother Martha Pitts. At the age of three, Hathaway began singing in church choir alongside his grandmother, a professional gospel singer. By six years old, Hathaway was composing his own music, singing, and playing the piano professionally under the name “Donny Pitts, The Nation’s Youngest Gospel Singer.”
Hathaway was a known piano prodigy before reaching high school and in 1964, and received a full scholarship to attend Howard University where he joined Alpha Phi Alpha Fraternity. While majoring in Music Theory and performing in the jazz group Ric Powell Trio, Hathaway worked as a session musician and songwriter for labels like Chess. His arrangements for The Staple Singers, Curtis Mayfield, and Aretha Franklin earned him a job at Curtom Records in 1969. There he recorded his first single, “I Thank You, Baby,” a duet with June Conquest.
Later that year, Hathaway signed with Atlantic Records as a solo artist and released his debut single, “The Ghetto, Pt. 1.” The song reached No. 23 on the R&B charts and established Hathaway as a burgeoning force in music. His critically acclaimed LP Everything is Everything and hit single “This Christmas” followed in 1970. By 1971, Hathaway released his second full-length album, Donny Hathaway. Classics like “A Song For You” and “He Ain’t Heavy, He’s My Brother” would come to solidify his musical legacy for generations to come.
By 1972, Hathaway and Roberta Flack collaborated on series of duets. Their album, Roberta Flack & Donny Hathaway, hit No. 3 on the pop charts and included “Where Is The Love?” which earned the pair the Grammy Award for Best Pop Performance by a Duo in 1973. That August, Hathaway’s album Live edged into the Top 20 and became Hathaway’s first and only gold album. Today, Live is considered one of the greatest live albums of all time. Aside from his work as a singer, Hathaway scored the feature film Come Back Charleston Blue and recorded the theme song for the television series Maude.
Amidst his growing success, Hathaway was diagnosed with paranoid schizophrenia and was frequently hospitalized due to intense mood swings and depression. However, periods of mental clarity allowed Hathaway to record and release his final studio album, Extensions of a Man in 1973. Songs like, “Someday We’ll All Be Free” and “I Love You More Than You’ll Ever Know” secured spots on both the R&B and pop charts. Soon after the album’s release, Hathaway dropped from the public eye and sought treatment.
In 1978, Hathaway returned to the studio to record with Roberta Flack. “The Closer I Get To You,” became the pair’s second No. 1 hit and inspired the recording of the second album of duets. However, on January 13, 1979, Hathaway was found dead outside of the Essex House in New York City, New York after a fall from the window of his 15th-floor hotel room. Although investigators ruled his death a suicide, family and friends believe his death may have been an accident. Donny Hathaway was only 34 years old.If The Man had lived i think he would be up there with the Greats!...To Me he Was One Of THE GREATS!!!...more form him to come.
A MAGIC TASTER BELOW!
TRACKS ON BACK COVER BELOW(FLAC)
A TASTER BELOW!
Tracks
| Bernie Moore - Which Way To Turn - Lark |
| Big Maybelle - Yesterday's Kisses - Scepter |
| Billy Butler - Boston Monkey - okeh |
| Blue-Belles - I Sold My Heart To The Junkman - HMV |
| Bobby Bennett - Who's Gonna Love You - Teardrop |
| Bobby Byrd - I Found Out - Federal |
| Bobby Duke - I Gotta Be With You - Verve |
| Bobby Jonz - You Don't Know What You've Got! - Dispo |
| Bobby Wells - Your Guy - Mercury |
| Bobby Womack - Across 110th Street - UA |
| Brenda Holloway - When I'm Gone - Tamla |
| Cissy Houston - I Just Don't Know What To Do With Myself - Janus |
| Cookie Jackson - Do You Still Love Me - Progress |
| Darrow Fletcher - It's No Mistake - Crossover |
| Dinah Washington and Brook Benton - Baby(You've Got What It Takes) - Mercury |
| Dramatics - Toy Soldier - Crackerjack |
| E.G. Taylor and The Sounds Of Soul - You Made Me Mad - Val |
| Edwin Starr - Time - Tamla Motown |
| Enchantments - I'm In Love With Your Daughter (Part II) - Faro |
| Gene Woodbury - That's Not Half Bad - Del-Val |
| Helen Shapiro - Shop Around - Columbia |
| Jess & James with the JJ Band - Move - MGM |
| Jimmy ''Preacher'' Ellie - I'm Gonna Do It By Myself - Movin |
| John E. Paul - I Wanna Know - Decca |
| Johnny Otis - Shake It - Peacock |
| Jon Ford - You've Got Me Where You Want Me - Philips |
| Junior Wells - Love Me - Chief |
| Just Brothers - Honey - Garrison |
| Kenny Ballard and the Fabulous Soul Brothers - I'm Losing You - Roulette |
| Kenny Gamble - Ain't It Baby - Arctic |
| Levon And The Hawks - He Don't Love You (and He'll Break Your Heart) - Atco |
| Lou Johnson - Unsatified - Bigtop |
| Louis Curry - I'll Try Again Tomorrow - M-S |
| Major Lance - Come See - Columbia |
| Marilyn Haywood - Mama's Baby (ain't A Baby No More) - Silver Fox |
| Marsha Brody - Right Combination - Hot Shot |
| Marsha Gee - Peanut Duck - Penniman |
| Mary Love - Lay This Burden Down - Modern |
| Mike Jemison - I Want Some Satisfaction - Geneva |
| Millie Jackson - My Heart Took A Licking - MGM |
Ann Sexton was born Mary Ann Sexton,on 6th February,1950, in
Greenville,South Carolina.She was raised by a family influenced by
gospel music.As a child,Ann sang in her church choir and
spent her adolescent and teenage years singing in school and
winning talent shows.
On Ann’s first recorded cut,in her home town in 1966,she is
the youthful yet accomplished vocalist billed as“Mary Sexton”
on the 45-rpm rarity by Elijah(Hawthorne) & The Ebonies,titled
“I Confess”(Gitana CR-3144).This early effort is an interesting
snapshot of a soon-to-be regional sensation,just a few years
before recording a number of hits that would form the bedrock
of her future career.
Whilst singing with Elijah’s band,Ann met and married saxophonist
Melvin Burton,who was also part of the band. Melvin was a
tenor and alto sax player,who gained notoriety as a youth
playing for Moses Dillard.Soon after,Ann and Melvin went on
to form their own band called “Ann Sexton and the Masters of Soul”.
Whilst Ann was performing in Shelby,North Carolina,at the Washington
Center,David Lee particularly recalls a striking twenty one
year old woman named Mary Ann Burton singing“Who’s Lovin’
You?”.He approached her to ask if she would record his song
“You’re Letting Me Down”. “She was really gracious;she said
You want me to sing your song?” Encouraged,he promptly booked
her a second engagement in Shelby the following week and
promised to send her his demo of the song.
At this point in Ann’s story,many of you will be wondering
who is this guy, David Lee?...Well,apart from seeing his name
on the writers’ credits on Ann’s Impel SS-AS-103 release,I
didn’t know much about him either.As this story unfolds it
will become apparent that David Lee and the DJ and record
producer John Richbourg,at radio WLAC in Nashville Tennessee,
were key players in the development of Ann’s career.
David M Lee was born in Shelby on the 3rd May 1936At fourteen,
David began writing poetry,but soon switched to song writing.
David worked at North Lake Country Club for thirty years and
held this job down right through the critical period while
writing and recording with Ann Sexton;if that wasn’t enough,
he spent evenings and weekends presiding over his record
shop and audio supply store “Washington Sound” with help
from his wife Nellena and the children.
David Lee was,over a course of three decades beginning in the
late 1950’s,songwriter,musician,producer and entrepreneur.
He released fourteen 45’s and two LP’s on his Impel,Washington Sound,
and SCOP labels,run out of his Washington Sound record and audio
supply shop in Shelby,North Carolina,outside Charlotte.He
wrote most of the songs himself,including the devastating
lament“You’re Letting Me Down”,which he recorded in 1971
with the then-unknown young Greenville,South Carolina,soul
singer named Ann Sexton.As reissued by Nashville DJ “John R” Richbourg
on his Seventy-Seven imprint that record became the biggest
hit of Mr. Lee’s long and impressive career,though hardly
his sole accomplishment.”
Although Ann’s promised demo took a while to arrive,David’s
original sounded a lot more country,but when she recorded it,
it sounded a different thing altogether.“It sounded tremendous”,said
David,after he recorded her version at Mark V Studios in
Greenville,backed by her husband Melvin Burton’s band,the
Masters of Soul.David gave her the stage name Mary Ann Sexton,
which was then shortened to Ann Sexton.
In collaboration with Ann & Melvin David wrote “You’ve Been
Gone Too Long”,the B side that has been his most lucrative
composition,and has kept Ann Sexton’s debut release on turntables
around the globe in the years since.Impel SS-AS-103,David’s
fifth record,was originally released in 1971;only 500 copies
were produced and it sold respectably in North and South
Carolinas,and was played on jukeboxes and managed a degree
of regional radio play.
The Impel release was reissued in two editions of John R’s
Seventy-Seven label,and sold more than 90,000 copies in the
70’s,and so began a productive working relationship between
David Lee and John R,which gave Ann the recognition she
deserved,and she was now signed to Seventy-Seven records.
The first reissue was on the pale yellow original Seventy-Seven
label,and then on the slightly later multi-coloured repress;
also white demos were issued for promotion purposes.
The B side “You’ve Been Gone Too Long”, was played as a new
import release at Blackpool Mecca Northern soul venue,and
was in short supply in the UK.This was soon rectified when
record dealer,Garry Cape(Soulscape)(Grapevine),contacted John R.
and arranged to have additional copies pressed up using the
multi-coloured label design,to satisfy the demand.So here we have her
Debut album in all its glory...A wonderful all round Soul Album.....Dynamite!!!
AMM
TRACKS ON BACK COVER BELOW
This week sees the 10th anniversary of the death of Amy Winehouse.I thought she
deserved a personal tribute on the blog.Whilst she won’t be everyone’s taste it
would be hard not to ignore her impact and achievements......This lady with all her own
Demons was a special gifted singer / Songwriter..they dont come along very often.
Rather than post her known albums,which i have and will post up later, ive opted for some rare licks.....A Double Album.
Amy’s Roots
Amy’s roots were forged in the migration of her great great Grandfather from Minsk
,Belarus to Londons East End in the 1890’s.By the time Amy was born in 1983 the
family had settled,with many other East End Jewish families in the North London
suburb of Southgate.Father Mitch was a Black Cab driver,despite an early divorce he
became an influential figure in her later career.Amy’s musical legacy was forged by
a number of uncles who were Jazz musicians but more so by her paternal Grandmother
Cynthia who the young Amy adored.
Cynthia,occasional Jazz singer,dated legendary UK club owner Ronnie Scott.Legend
has it Amy grew up hearing her Dad and Cynthia deliver Frank Sinatra Jazz standards
in the house,but she has also cited her love of Salt and Pepper and The Beastie Boys.
This fusion of both retro classics and contemporary sounds was to be her hallmark
and path to success.Cynthia provided far more than musical influence,she was flamboyant,
and something of a mystic absorbed by Tarot cards and the fragility of fate and
destiny .
By the age of 12 Amy had bought her own guitar and was writing songs.Her influences
were never merely cited retrospectively to appear hip,evidenced by details of an
early ‘Chill Out ‘ cassette tape.It includes the often cited Ella Fitzgerald,Frank
Sinatra,Carol King,but also Ray Charles,Curtis Mayfield,& Edwin Star.She was
encouraged by Cynthia to attend drama schools.At 17 she became the featured female
vocalist with the National Youth Jazz Orchestra and by the age of 19 she has signed
to Simon Fullers 19 Management,and began a long working relationship with Producer
Salaam Remi.The buzz about Amy triggered keen interest from a number of major labels,
but Island Records A&R man Darcus Beese acting on a tip off sealed a deal that was
to secure the release of her debut album Frank in 2003.
Blues and Soul magazine featured her on the front cover following the release of Frank.
Much of it had been written whilst Amy was still a teenager,it provided a credible
debut of Neo Soul over a mix of drum and base and mellow Jazz.Whilst it won an Ivor
Novello award,was shortlisted for a Mercury prize and reached platinum sales it
was only a shade of what was to come.Amy performed at Glastonbury,V Festival and
Montreal Jazz festival to promote an album she was often self critical of .
Back to Black
Co producer on her debut album had been Salaam Remi whose previous work had included
The Fugees,Lisa “Left Eye” Lopes and Ms Dynamite.This collaboration continued for the
follow up Back to Black album which saw her travel to New York and Miami to work with
British born legendary director Mark Ronson.Amy developed a close working relationship
with both men,and also the Dapp Kings who were brought in work on the album which
provided a shift away from Jazz towards sixties soul and girl groups,with additional
elements of Neo Soul,modern blues and ska.Both men have admitted that Amy was not
the easiest person to work with,and it took some coaxing and a high degree of trust
for her to accept changes in production.
They produced an album made of ten songs that average three minutes with 5 of the
nine songs are under 3 mins.Amy poured out her sorrow and frustration in a style
that was both sultry and agonising at the same time.The songs were marked by references
to soul idols(Ray Charles and Donny Hathaway)sexual frustration and the contradictory
emotions in modern relationships.It drew on Motown,Neo Soul and Billie Holiday’s
legacy.Whilst Amy’s voice was never ever going to compete with Aretha or Gladys Knight
it was by any standards a Soulful album.Completed within five months it was
destined to become a modern classic It barely had a weak track and was to provide
5 singles within a year.Musically "Rehab" was ironically the most commercial and
was on everybody’s lips and radios world wide,a cruel irony given that Amy was never
more in need of rehab at the time.It reached the UK and US top ten in October 2006.
It was followed by "You Know Im No Good","Back to Black","Tears Dry on their own",
and prophetically "Love is a Losing Game".A cynical mind might feel Island were milking
a talent that wasn’t destined to shine for long.By the end of 2011 it had sold 3.5
million copies in the UK and 20 million worldwide and award ceremonies couldn’t get
enough of Amy and the Back to Black team.The Brits’s,Mercury,Rolling Stone Magazine,
and 5 Grammys’ all took a chance on giving her a an acceptance speech.
Amy’s Decline
Within the next 2 years a catalyst of events would combine to result in a Amy’s
drift towards self destruction.There had been rumours of mood swings and depression
as a child and school exclusions which were denied.There is a stark warning in a
statement from Amy to camera in the posthumous 2015 film "Amy" about her inability
to handle fame and attention.Her early manager and friend Nicky Shymansky later
disclosed to Daily Telegraph journalist Jessamy Calkin :
‘It was around February 2005,in the space of a week,everything changed.I called her,
and she sounded different.I remember saying to my brother,“Something weird is going
on.Amy doesn’t sound like Amy.”‘That was the week she met Blake Fielder-Civil.She
changed overnight."
He reportedly admitted to introducing her to Class A Drugs,then broke off their
relationship to return to an existing girlfriend.Whilst Amy never hid her frequent
use,or dependency of Canabis and Alcohol she was reported as chanting‘Class A drugs
are for mugs’at the beginning of her shows prior to meeting Fielder - Civil.Amy’s
family and fans have pointed to the death of her beloved grandmother Cynthia in May
2006 as a trigger for her emotional decline.Amy Winehouse and Fielder-Civil married
secretly in Florida in May 2007
Their relationship was marked by co dependency,binge sessions,violent break ups and
emotional make ups between the two.They were divorced within two years,but by this
time Amy appeared in full decline . Ive chosen not to detail the sad gory details of her personal decline which were captured almost gleefully by a tabloid press. She died alone on 23rd July 2011 aged 27 , and the inquest reported blood alcohol levels as .416 mg of alcohol per 100 ml of blood with readings of over 400 likely to lead to lead to a coma and death.
Amy’s Legacy:
Ahead of her death there were hopes of her delivering a song for a new James Bond
song,and also rumours of a Ska album.Amy Winehouse was one of a long line of white
UK female singers who have embraced Soul music and delivered it with passion,respect
and integrity.She belongs on that list along with Dusty,Lisa Stansfield,& Joss Stone.
There is no doubt Amy inspired countless singers to follow her,with Adele and Duffy
among them.Emile Sande Sam Smith and Paloma Faith are among many who have also
cited her influence.You might not have wanted her for a neighbour,your daughters best
friend or your sons new girlfriend,but in a music scene dominated by X Factor clones
it was hard not to admire her raw energy.Amy sealed the bond that so many performers
and artists in this country have with Soul music in all its forms.Its passion gripped
her and she felt it no less than any of us who have taken to the floors of an all niter.
RIP.
10th Anniversary Tributes
The fact that the BBC have scheduled over 10 hours of TV and Radio programmes this
week is testimony to the extent of Amy’s talent,influence and popularity.
If she had lived super star staus would have surely beckoned.
AMM
THE TASTER BELOW!
TRACKS ON BACK COVER BELOW
Poet,novelist,musician,and songwriter Gil Scott-Heron was born in Chicago,Illinois
on April 1,1948 to parents Bobbie Scott Heron,a librarian,and Giles(Gil)Heron,a Jamaican
professional soccer player.He grew up in Lincoln,Tennessee and the Bronx,New York,
where he attended DeWitt Clinton High School.Heron attended Lincoln University in
Pennsylvania and received an M.A. in creative writing from Johns Hopkins University.
By age thirteen Scott-Heron had written his first collection of poems.In 1968,he
published his first novel,The Vulture,a murder mystery.Central themes include the
devastating effects of drugs on urban black life. Four years later, Scott-Heron
published his second novel,The Nigger Factory(1972),which is set on the campus of a
historically black college (HBCU).It focused on the conflicting ideologies among the
traditional,Eurocentric-trained administrators,the younger,more nationalistic students
founders of Members of Justice for Meaningful Black Education(MJUMBE)and the moderate
students and their leader,Earl Thomas.
Scott-Heron released more than fifteen albums and was best known as a musician and
songwriter.In 1970,he released his first album,New Black Poet Small Talk at 125th
and Lennox,Pieces of Man (1971),Free Will (1972) and Winter in America (1974).These
albums include such classic works as “The Revolution Will Not be Televised,” “Lady
Day and John Coltrane,” “Whitey on the Moon,” “No Knock On My Brother’s Head,” and
“Home Is Where the Hatred Is.”
Known for his spoken word performances,Scott-Heron walked onto the international
stage simultaneously as did many of the Black Arts Movement poets,including Amiri
Baraka,Haki Madhubuti,Sonia Sanchez,and Nikki Giovanni.He shared their conviction
that art must be functional; therefore,as artist and communal leader,he must
embrace his role as a significant political voice committed to the liberation of
black people.Scott-Heron’s cacophonous voice resonated as well with that of Malcolm X,
the militant prophet-leader of the Nation of Islam who inspired a generation to add
ress the needs and condition of the urban black masses.The electric,edgy,angry sounds
he created with his fusion of soul,jazz,blues,and poetry—often in collaboration with
musician Brian Jackson—made him a forerunner to a later generation of rap artists,
particularly such socially conscious rappers as Tupac Shakur,Jay Z,Common,and Kanye
West.
Gil Scott-Heron released his last album,We’re Still Here,in 2011.He died in a
Manhattan hospital on May 27,2011.He was 62.In May 2021,Scott-Heron was selected as
an inductee into the Rock & Roll Hall of Fame.
Here's a half hour Private Press featuring four kicking tracks from a 1986 live show at
the Glastonbury Festival,originally broadcast on the BBC.Here we capture GSH somewh
ere in the middle of his 12 year hiatus between "Moving Target" and "Spirits",but
he's in fine voice and spirit.
Keyboardist Kim Jordan switches between synth and piano,and she contributes some
particularly fine piano solos,she was a member of Gil's touring band for 12 years. also appearing on the live "Minister of Information" album and "Spirits", both in 1994.
Also appearing on those albums was the Turrentine-ish saxophonist Ron Holloway,who
also played on "Moving Target" from which both "Blue Collar" and "Washington DC"
appear live here.He went on to record some albums for Milestone in the 90s,including
1998's "Groove Update" which features GSH on new versions of "Three Miles Down" and
"We Almost Lost Detroit".That album also featured drummer Rodney Youngs from here.
Joe Phillips' guitar adds a blues sensibility to the proceedings,Bassist Robbie Gordon
played with GSH from 1978 until 1994.He released a solo album called "Still Growing"
in 1996,which included an unusual straight-ahead acid jazz version of Gil's classic
song "B-Movie".
An anecdote about this gig from a guy who loved GSH
"I once had a pee on a fence next to him at Glastonbury festival,right after he’d
just come off stage.And when I asked him if he didn’t have a hospitality area
backstage and his own posh toilets,he shrugged and sad, “Yeah man,but I like to pee
with the people”...Says so much about the Mans Character..A true man of the people.
I will post more of his albums in due course having everything he,s done and many Rare Private Pressings!
AMM
A TASTER BELOW BUT THE LIVE ONE IS BETTER(IMHO)!
TRACKS AND BAND LINE UP ON BACK COVER BELOW(FLAC)
When you look at where Popular Black Music came from you have to check out the Incredible Bessie Smith..A powerhouse of a voice..oozing with Soul..back in the day The Blues was the Foundation of everything we hear today..along with Jazz.
Bessie Smith began to sing at a young age and in 1923 signed a contract with Columbia Records. Soon she was among the highest-paid Black performers of her time with hits like "Downhearted Blues." By the end of the 1920s, however, her popularity had lessened, though she continued to perform and made new recordings at the start of the Swing Era. Her comeback and life were cut short when she died on September 26, 1937, from injuries sustained in an automobile accident outside of Clarksdale, Mississippi.Smith was born on April 15, 1894, in Chattanooga, Tennessee. She was one of seven children. Her father, a Baptist minister, died soon after her birth, leaving her mother to raise her and her siblings. Around 1906 her mother and two of her brothers died and Smith and her remaining siblings were raised by their aunt. It was around this time that Smith began to perform as a street singer, accompanied on the guitar by one of her younger brothers. In 1912 Smith began performing as a dancer in the Moses Stokes minstrel show, and soon thereafter in the Rabbit Foot Minstrels, of which blues vocalist Ma Rainey was a member. Rainey took Smith under her wing, and over the next decade, Smith continued to perform at various theaters and on the vaudeville circuit.By the early 1920s, Smith had settled down and was living in Philadelphia, and in 1923 she met and married a man named Jack Gee. That same year, she was discovered by a representative from Columbia Records, with whom she signed a contract and made her first song recordings. Among them was a track titled "Downhearted Blues," which was wildly popular and sold an estimated 800,000 copies, propelling Smith into the blues spotlight. With her rich, powerful voice, Smith soon became a successful recording artist and toured extensively. Going forward with an idea presented by her brother and business manager Clarence, Smith eventually bought a custom railroad car for her traveling troupe to travel and sleep in.In her recording career, Smith worked with many important jazz performers, such as saxophonist Sidney Bechet and pianists Fletcher Henderson and James P. Johnson. With Johnson, she recorded one of her most famous songs, "Backwater Blues."Smith also collaborated with the legendary jazz artist louis Armstrong on several tunes, including "Cold in Hand Blues" and "I Ain't Gonna Play No Second Fiddle," and "St. Louis Blues." By the end of the 1920s, Smith was the highest-paid Black performer of her day, and had earned herself the title "Empress of the Blues."However, at the height of her success, Smith’s career began to flounder, due in part to the financial ravages of the Great Depression and a change in cultural mores. In 1929, she and Gee permanently separated, and by the end of 1931 Smith had stopped working with Columbia altogether. However, ever the dedicated performer, Smith adapted her repertoire and continued to tour. In 1933, Smith was contacted by producer John Hammond to make new recordings, which hinted at the coming Swing Era.On September 26, 1937, Smith was en route to a show in Memphis, Tennessee with her companion of many years, Richard Morgan, when he sideswiped a truck and lost control of their car. Smith was thrown from the vehicle and badly injured. She died of her wounds in a Clarkdale, Mississippi hospital. She was 43.Smith’s funeral was held in Philadelphia a week later, with thousands coming to pay their respects. She was buried in Mount Lawn Cemetery in Sharon Hill, Pennsylvania.....Awesome though its as old as the hills!..Great Double Album that explores her career in depth.i have everything she,s done,but to the Uninitiated come ans listen to one of the foundations of black Music!
AMM
THE TASTER BELOW!
TRACKS ON BACK COVER BELOW(FLAC)
Arguably the most iconic and lastingly influential jazz singer of all time, Billie Holiday expressed an incredible depth of emotion that spoke of hard times and injustice as well as triumph. With accompaniment by some of the finest bands of the era, these classic tracks were recorded during her creative heyday when her voice was at its potent best.Holiday was born Eleanora Fagan on April 7, 1915, in Philadelphia, Pennsylvania. (Some sources say her birthplace was Baltimore, Maryland, and her birth certificate reportedly reads "Elinore Harris.") Holiday spent much of her childhood in Baltimore, Maryland. Her mother, Sadie, was only a teenager when she had her. Her father is widely believed to be Clarence Holiday, who eventually became a successful jazz musician, playing with the likes of Fletcher Henderson. Unfortunately for Holiday, her father was an infrequent visitor in her life growing up. Sadie married Philip Gough in 1920 and for a few years, Holiday had a somewhat stable home life. But that marriage ended a few years later, leaving Holiday and Sadie to struggle along on their own again. Sometimes Holiday was left in the care of other people.Holiday started skipping school, and she and her mother went to court over Holiday's truancy. She was then sent to the House of Good Shepherd, a facility for troubled African American girls, in January 1925.Only 9 years old at the time, Holiday was one of the youngest girls there. She was returned to her mother's care in August of that year. According to Donald Clarke's biography, Billie Holiday: Wishing on the Moon, she returned there in 1926 after she had been sexually assaulted.In her difficult early life, Holiday found solace in music, singing along to the records of Bessie Smith and Louis Armstrong. She followed her mother, who had moved to New York City in the late 1920s, and worked in a house of prostitution in Harlem for a time. Around 1930, Holiday began singing in local clubs and renamed herself "Billie" after the film star Billie Dove.At the age of 18, Holiday was discovered by producer John Hammond while she was performing in a Harlem jazz club. Hammond was instrumental in getting Holiday recording work with an up-and-coming clarinetist and bandleader Benny Goodman.With Goodman, she sang vocals for several tracks, including her first commercial release "Your Mother's Son-In-Law" and the 1934 top 10 hit "Riffin' the Scotch."Known for her distinctive phrasing and expressive, sometimes melancholy voice, Holiday went on to record with jazz pianist Teddy Wilson and others in 1935. She made several singles, including "What a Little Moonlight Can Do" and "Miss Brown to You." That same year, Holiday appeared with Duke Ellington in the film Symphony in Black.Around this time, Holiday met and befriended saxophonist Lester Young, who was part of Count Basie,s orchestra on and off for years. He even lived with Holiday and her mother Sadie for a while.Young gave Holiday the nickname "Lady Day" in 1937 — the same year she joined Basie's band. In return, she called him "Prez," which was her way of saying that she thought it was the greatest.Holiday toured with the Count Basie Orchestra in 1937. The following year, she worked with Artie Shaw and his orchestra. Holiday broke new ground with Shaw, becoming one of the first female African American vocalists to work with a white orchestra. Promoters, however, objected to Holiday — for her race and for her unique vocal style — and she ended up leaving the orchestra out of frustration.
Striking out on her own, Holiday performed at New York's Café Society. She developed some of her trademark stage persona there — wearing gardenias in her hair and singing with her head tilted back.During this engagement, Holiday also debuted two of her most famous songs, "God Bless the Child" and "Strange Fruit." Columbia, her record company at the time, was not interested in "Strange Fruit," which was a powerful story about the lynching of African Americans in the South. Holiday recorded the song with the Commodore label instead. "Strange Fruit" is considered to be one of her signature ballads, and the controversy that surrounded it — some radio stations banned the record — helped make it a hit.Over the years, Holiday sang many songs of stormy relationships, including "T'ain't Nobody's Business If I Do" and "My Man." These songs reflected her personal romances, which were often destructive and abusive.Holiday married James Monroe in 1941. Already known to drink, Holiday picked up her new husband's habit of smoking opium. The marriage didn't last — they later divorced — but Holiday's problems with substance abuse continued.In 1939, after singing her song “Strange Fruit,” Holiday received a warning from the Federal Bureau of Narcotics, a government agency which lasted from 1930 to 1968, to never sing the song again. Holiday refused and kept singing the song.FBN commissioner Harry Anslinger believed Holiday to be the symbol of everything that America had to be afraid of.She had a heroin addiction because she’d been chronically raped as a child and she was trying to deal with the grief and the pain of that,” Johann Hari, who wrote the book Chasing the Scream: The First and Last Days of the War on Drugs, told WNYC. “And also, she was resisting white supremacy. And when she insisted on continuing on her right as an American citizen to sing 'Strange Fruit,’ Anslinger resolves to destroy her.”Anslinger was a widely known racist and made it his mission to take Holiday down for her drug and alcohol addiction and relentlessly pursued her all the way up until her death in 1959. Holiday gave her final performance in New York City on May 25, 1959. Not long after this event, Holiday was admitted to the hospital for heart and liver problems.She was so addicted to heroin that she was even arrested for possession while in the hospital. On July 17, 1959, Holiday died from alcohol- and drug-related complications.More than 3,000 people turned out to say good-bye to Lady Day at her funeral held in St. Paul the Apostle Roman Catholic Church on July 21, 1959. A who's who of the jazz world attended the solemn occasion, including Goodman, Gene Krupa, Tony Scott, Buddy Rogers and John Hammond.Considered one of the best jazz vocalists of all time, Holiday has been an influence on many other performers who have followed in her footsteps.
To me she is a legend who had her own style of singing the Blues & Jazz &7 i have Obsessively Collected everything i can get my hands on...It would be years later that an equally talented performer would come along and blow me away with her voice and style...from the unlikely location of london..a jewish girl named Amy Winehouse who like Billie was racked with personal problems but who could also blow you away with her voice!
More to come from her later!
AMM
THE TASTER BELOW!...THE SONG THEY TRIED TO BAN!
C L Blasts 3rd & Final album again packed with great tracks!
THE TASTER BELOW!
TRACKS ON BACK COVER BELOW
One of my all time fave singers with that big powerful voice,legend Titus Turner.
Although he was primarily known as a successful songwriter,who penned a steady stream
of R&B hits,Titus Turner enjoyed a parallel recording career.This unique compilation
presents the very best of his own recordings between 1955-1962,for a half dozen
different US record labels,viz,Wing,Atlantic,King,Glover,Jamie and Enjoy.Included
are his US hits "The Return Of Stagloee", "We Told You Not To Marry" and "Sound Off
(Duckworth Chant)" as well as the title track "Taking Care Of Business",which was
hugely popular in the New York clubs Also includes his original versions of songs
like "All Around The World","Big John", "Get On The Right Track Baby", "People Sure
Act Funny" and "Soulville",which became hits for Little Willie John,The Shirelles,
Ray Charles,Arthur Conley and Dinah Washington respectively.Several of these sides
are serious collector's rarities,unavailable elsewhere on CD.The man is a legend
across the soul scene.Just about everything covered here with the double album and Bonus Tracks.
AMM
THE TASTER BELOW!
Bonus Tracks
| 01 Sportin' Tom |
| 02 Hungry Man |
| 03 Sodom And Gommorrahh (Part I) |
| 04 Sodom And Gommorrahh (Part 2) |
| 05 Your Lovin’ Is Killing Me Baby |
| 06 Big Mary |
| 07 Eye To Eye |
I featured their 4th album on Jewel a while back,well this is their 3rd..and what another mind blower it is!..So cool & polished with those elusive dancers included!
TRACKS ON BACK COVER BELOW(FLAC)
