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INTERNET PROBLEMS TODAY,HOPE FOR BETTER TOMORROW!?
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AMM
I Was going to post up the LP but again,well worn and the Expanded CD gives more Tracks and FLAC Sound,so no contest there.I Posted his Brother Jeff up yesterday..What a talented family!
If you've heard the Honey Cone or Chairmen of the Board, then you've heard Greg Perry. Between 1969-1973, the Alton,Illinois born singer/songwriter/producer helped score half a dozen gold singles and countless hits for Holland-Dozier-Holland's Invictus/Hot Wax labels. With writing partners like Angelo Bond and General Johnson, Greg Perry anchored the label's accessible, pop-friendly style. What's often overlooked, however, are the two solo albums he recorded after parting with H-D-H. One for the Road (1975) and Smokin' (1977) offer proof of Perry's peerless solo work and account for the recent, reinvigorated interest in his music.0Schooled by St. Louis blues and the gospel music of his great-grandfather's church, Perry started recording music while still a high school student during the late-1950s. Motown writer/producer Robert Bateman, who was also Perry's uncle, invited 17 year-old Greg and his brothers to New York to record demos. Upon his arrival, Perry met a whole network of young songwriters who wrote for independent labels like Sue Records and Red Bird.Billy Davis, an A&R executive at Chess Records in Chicago, gave Perry his next gig and released the young songwriter's first official single, "Head Over Heels." Relocated back in his home state, Greg Perry teamed up with Sidney Barnes and composed tracks for a new band created by Marshall Chess -- Rotary Connection. Perry was initially invited to join the group but instead extended the invitation to Barnes, who stayed with Rotary Connection through the late-'60s. Rotary Connection's eponymous debut features the Perry-Barnes collaboration, "Turn Me On," while Aladdin (1968) includes "Teach Me How to Fly," a song that Barnes credits Perry for inspiring.
As 1968 yielded to 1969, Perry fled Chicago and landed in Detroit to meet with Brian Holland about a deal with Motown. (Holland had worked with Robert Bateman on "Please Mr. Postman" for The Marvelettes years earlier.) However, Holland was in the process of leaving the label with Lamont Dozier and Eddie Holland to set up their new company, Invictus/Hot Wax. Brian Holland hired Perry as a staff writer and producer, beginning a five-year span of hit singles. From "Bring the Boys Home" by Freda Payne to Chairmen of the Board's "Pay to the Piper," from "Somebody's Been Sleeping" by 100 Proof Aged in Soul to "Want Ads," the number one smash by the Honey Cone, Greg Perry carved a niche at the label as one of its most consistently successful writers and producers.When Hot Wax folded in 1973, Perry sought a new label deal for Edna Wright (the lead singer of Honey Cone,whom he married Later) with Neil Bogart, who was president of Buddha Records, the company that had distributed the Hot Wax side of H-D-H's roster. Since Wright was still under contract to H-D-H, Bogart offered Perry a record deal of his own on Casablanca Records. Released in early-1975, One for the Road captured Perry's singing, songwriting, and production prowess. Songs like "Variety is the Spice of Life" and "Come On Down" revealed the malleability of Perry's rich baritone. However, Casablanca, still a young company at the time, had limited means to market and promote the album. Despite its first-rate qualities, One for the Road marked the beginning and end of Greg Perry's tenure at Casablanca.Two years later, Perry signed with RCA Records and released yet another stirring two sides of soul. Smokin' featured the first recording of Perry's collaboration with Sidney Barnes, the rousing "How's Your Love Life, Baby." The song became a dance floor staple through subsequent versions by Eddie Kendricks and Jackie Moore while the stunning "I'll Always Be In Love With Love" also found its way into DJ sets. Again, Perry served up a stellar collection of material but the label was not equipped to work the album. Both Smokin' and Oops! Here I Go Again, which he produced for Edna Wright, were abandoned by the record label. Perry didn't return to record-making again until 1981 when he helmed In and Out of Love for Mary Wells on Epic. He released a pair of solo singles the following year on Alfa Records ("It Takes Heart" and "The Getaway") before producing tracks for Bonnie Pointer on her If The Price is Right (1984) album. I rate this guy up there with Sam Dees ,Bobby Womack,& Marvin gaye as the greatest Songwriters Ever!...I will be posting his other album up in due course.this album is a Timeless slab of soul!!!
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AMM
...I,VE BEEN HAVING CONNECTION PROBLEMS ALL DAY SO ONLY THIS POST TODAY GUYS...SORRY.
2 TASTERS FROM THIS TALENTED ARTIST BELOW!
ALBUM AND BONUS TRACKS BELOW(FLAC)
Bonus Tracks(mp3@320)
11.Love Control - Chess 1967
12.Head Over Heels (In Love) - Chess 1967
13.The Boogie Man(Part II) - Casablanca 1974
14.It Takes Heart - Alfa 1982
15.It Takes Heart (Inst) - Alfa 1982
WHEN THERE GONE THERE GONE, SO GRAB THEM BEFORE LINKS EXPIRE GUYS!
WHEN THERE GONE THERE GONE, SO GRAB THEM BEFORE LINKS EXPIRE GUYS!
Jeffree Perry was literally born into the music business. His uncle, Robert Bateman, was one of the early pioneers at Motown, serving as a talent scout, engineer, and co-producer. Bateman was also a co-writer and producer of the company's first number one hit, "Please Mr. Postman" by the Marvelettes. As a child, Perry and his four siblings sang everywhere and anywhere for anyone who would listen. When he was 12, Jeff's brothers cut their Atlantic debut as the Perry Brothers. Along with younger brothers Dennis and Zachary, Jeff started doing background vocal sessions for Chess Records. Another brother, Greg Perry (whose '70s Smokin' album remains a cult classic) started producing for Holland/Dozier/Holland's Invictus and Hot Wax Records. Perry got into production and songwriting.Greg Perry co-wrote and produced the gold single "Somebody's Been Sleeping in My Bed" for Jeffree Perry's group 100 Proof Aged in Soul. The two brothers assisted each other with hits for the Honey Cone ("Want Ads," "Stick Up," and "One Monkey Don't Stop No Show"). The hits continued with the Chairman of the Board's "Pay to the Piper" and the gold controversial classic "Bring the Boys Home" by Freda Payne.For a couple of years, Perry worked with Motown. During his tenure, he met and worked closely with legendary Motown bassist James Jamerson, became a close personal friend of Marvin Gaye, and scored a hit, "One Love in My Lifetime," with Diana Ross. Coming to Chicago, Perry began working with producer Carl Davis (the Chi-Lites, Gene Chandler). The collaboration lead to Perry writing and producing Jackie Wilson's last commercial album, Beautiful Day.Soon afterwards, Perry launched his solo career on Clive Davis' Arista Records. His "Love Don't Come No Stronger" was the label's first R&B hit. Teaming up with producer Norman Whitfield, he recorded an album for MCA, Jeffree, and worked with the group Stargard. The two smooth singles from Jeffree, "Mr. Fix-It" and "Love's Gonna Last," and the album itself charted in the lower half of Billboard's charts in 1979.In the mid-'80s, Perry got married and moved back to Michigan where he, along with two wealthy businessmen, formed Master Wax Records. Later, Perry and some business partners formed Creative Connection Productions. In 1990, a curious thing happened. The club jocks and Kenny B., who had his own show, the Saturday Night Dusty Steppers on radio station WVAZ-FM, began playing "Love's Gonna Last" from the Jeffree album. Suddenly, an album that had been selling in cut-out bins from 50 cents to a dollar began to skyrocket in price. The demand bordered on frenzy, as jocks, music lovers, and the record-buying equivalent of scalpers scrambled to act on this phenomenon. Carl Davis contacted Perry, telling him about the almost rabid interest in his only album. Davis' friend, veteran promoter Gus Redmond, handled the media visits, press interviews, and all the other activities associated with a hit record, even though the record was long out of print. But that didn't last long as bootleggers went to work, pressing up shoddy copies of "Love's Gonna Last." Seeing the demand, distributor Ruby Lawrence contacted his friends at MCA and worked out a deal with the label's special products division to reissue the album. The first single, "Mr. Fix-It," and "Take My Love" started getting club play and received massive airplay. The success of the Jeffree album promoted Perry to release a new album, Call It Love, on his own Creative Connection label in 1997. .....INCLUDES BONUS TRACKS!
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2 TASTERS FROM THIS BRILLIANT ARTIST BELOW!
ALBUM AND BONUS TRACKS LISTED BELOW
Bonus Tracks
08 Honest Baby - Arista 1976
09 Love Don't Come No Stronger(Than Your's And Mine) - Arista 1975
10 I've Got To See You Right Away - Arista 1975
11 Call On Me - Epic 1977
12 Unforgettable Person - Arista 1976
13 Stick Close - C.O.I - LP 1996
14 Gentle love - C.O.I - LP 1996
15 Never Give Up - C.O.I. - LP 1996
16 Call It Love - C.O.I. - LP 1996
17 Change Places - C.O.I. - LP 1996
18 Love Loan - Expansion 2002
A subsidiary of Golden World,Ric Tic Records Is another Legendary Label that collectors and Soul Lovers are familiar with worldwide.The standard of their releases were so good that Berry Gordy felt threatened enough to swallow them up in his Motown Empire.Many Soul fans,myself included believe that if they had not been bought out by gordy they would have been as big thanks to the exposure the 45,s had on the Northern Soul Scene.More info HERE
A TASTER BELOW!
ARTISTS AND TRACKS ON BACK COVER BELOW
A TASTER BELOW!
ARTISTS AND TRACKS LISTED BELOW
WHEN THERE GONE THERE GONE, SO GRAB THEM BEFORE LINKS EXPIRE GUYS!
WHEN THERE GONE THERE GONE, SO GRAB THEM BEFORE LINKS EXPIRE GUYS!
WHEN THERE GONE THERE GONE, SO GRAB THEM BEFORE LINKS EXPIRE GUYS!
GRAB THEM NOW IF YOU MISSED THEM BEFORE THERE GONE!,,,COMMENT PLEASE
GRAB THESE NOW AS WHEN THERE GONE THEIR GONE!..LINK GOOD FOR 7 DAYS ONLY!
DROP A COMMENT AND I,LL DO THE REST GUYS!
Great Lost album first recorded in San Francisco in 1983 by local boy The Great Marvin Holmes!....Mainly Soul.
A TASTER BELOW!
TRACKS ON BACK COVER BELOW(FLAC)
Golden World Records was a Detroit record label owned by Eddie Wingate and Joanne Jackson Bratton. Golden World operated from 1962 to 1968. Irving Biegel had been Manager at the label after spending 4 years at Motown.In 1966 he moved to Palmer Records.
The label and its subsidiaries Wingate & Ric-Tic were purchased by Berry Gordy in 1968(along with the contracts of Edwin Starr & J.J.Barnes who were not happy as Gordys reputation preceded him), and folded into Gordy's Motown Record Corporation. The Golden World studio became Motown's "Studio B", working in support of the original Motown recording studio (Studio A) at Hitsville USA. Before its purchase by Gordy, the studio's recordings often included moonlighting Motown back-up musicians, including James Jamerson bass and George McGregor who was the studio percussionist.More info can be found HERE at the excellent Soulful Detroit site(I have been a member since its inception) if any of you were not aware,get over and have a browse.The story unfolds into the link with the UK Northern Soul Scene.These 2 Boots contain some very rare tracks indeed and go for crazy prices online!...All tracks were played on the Northern Circuit somewhere at sometime...MY FAVOURITE SOUL CITY ...DETROIT...USA!
TRACKS & ARTISTS ON BACK COVER BELOW
More goodies from the gals this time!..Track #08 duplicated with Track#18...?...compiler must have had a blond moment!?
A TASTER BELOW!
TRACKS AND ARTISTS ON BACK COVER BELOW
Following
the rise of Aretha Franklin's career from a child singing in her
father's church's choir to her international superstardom, RESPECT is
the remarkable true story of the music icon's journey to find her voice........Link Below Cover....Enjoy!!!.......2 Hours 24 Minutes
Here,s a very Rare album from Stax Records from a group who only recorded one album and 45. Produced by Legendary singer/songwriter David Porter.Circle o Fire were a local Memphis group that David Porter tried to launch, without success, on the revived Stax label, in 1978. They were possibly the The Soul Children's touring band,but info on these guys is sketchy to say the least.Album still only available on Vinyl.The band consisted of Donald O'Conner,George Journigan,Gregory McIntosh,John Sangster,Larry O'Neill,Tim Dancy,Walter Person Jr.,& William Kirkwood.,,Still no CD Release ?
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A TASTER BELOW!
TRACKS ON BACK COVER BELOW
Brenda calls her music "Bourbon and Cornbread," the musical mixture of jazzy sweetness and down home blues/soul sass that marks her as "the most authentic and most inventive female blues based vocal stylist of her generation," according to historian Lee Hildebrand.
Brenda Boykin has earned a sterling reputation in the San Francisco Bay Area as a masterful interpreter of jazz and blues material gleaned from big bands, old blues hands, and honky tonk heroes. Boykin has firmly established herself as an unsurpassed vocal talent whose elixir of bourbon and cornbread,sounds from silk to sandpaper delight both new listeners and purists who compare her to the giants of the past.
A native of Oakland, California, Boykin's first musical experience came through the youth choir of the North Oakland Missionary Baptist Church, one of the many houses of the lord where raucous, heart-felt sounds of the faithful still ring out on the wide streets of the East Bay flatlands. The church strains can still be found in her rich, husky contralto, effortless power and controlled vocal passion. After studying the clarinet in high school Boykin entered the University of California at Berkeley, and though studying psychology and social welfare gravitated toward the jazz bands working on and near campus. Boykin worked Bay Area jazz and blues hot spots that helped her expand her musical horizons.
With the encouragement of family friend and guitarist Sonny Lane, Boykin began to dig in with the blues people at Oaklands's legendary Eli's Mile High Club. The famous North Oakland night spot has been for many years the heartbeat of East Bay blues life, with giant figures including Percy Mayfield, Lowell Fulson and Jimmy McCracklin gracing the small stage alongside lesser-known stalwarts including guitarist and arranger Johnny Heartsman, Sonny Lane and Mississippi Johnny Waters.
Under tutelage of Lane, Waters and drummer Francis Clay, an influential force in the great Muddy Waters bands of the late '50's and early '60's Boykin absorbed the laid back, call-and-response magic of the late night urban blues. "Boykin does delightfully unfamiliar things with familiar tunes," said the East Bay Express in 1988, "using her rhythmic authority and arranger's sensibility to create exciting new version" of tunes from Basie, B.B., Buck Owens and everybody in between.
She often cites Sarah Vaughn as a major influence, but Brenda Joyce Boykin is certainly not a devotee to any one stylist or genre. She says that the incomparable blue balladeer Bobby "Blue" Bland, whose string of hits dates back to the early '50s, has had an enormous impact to her vocal approach. She also gives a nod to Brenda lee and Elvis Presley, LaVern Baker and even the "divorcee music" of Nancy Wilson and Dakota Staton.
Boykin has won rave reviews for her repeat performances at the venerable Monterey Jazz Festival, the more boisterous Monterey Bay Blues Festival, the San Francisco Blues Festival, the Mississippi Valley Blues Festival in Davenport, Iowa, the DuMaurier Jazz Festival in Vancouver, and the Umbria Jazz Festival in Italy.
For many years she has performed duets with her "musical soul mate" Eric Swinderman, a sensitive guitarist who accompanies Boykin on material ranging from New Orleans rhythms to jazz standards. Boykin has performed countless times with Home Cookin', a small combo with a changing roster that has included guitarists Anthony Paule and Steve Freund, pianists Steve Lucky and Caroline Dahl, bassist Tim Wagar and drummer Tyler Eng.
For the past three years Boykin has also taught singing workshops at the Rhythmic Concepts Jazz Camp, alongside a roster of the San Francisco Bay Area's most celebrated and dedicated jazz musicians.
Boykin has mastered all of the crafts of a complete vocalist, she has a rich voice, a masterful grasp of musical dynamics, and a natural, unforced empathy with her listeners. "Part of showmanship is to turn to the guitar player and bass player and exchange some energy, look him in the eye and say 'Yeah, Baby,'" Boykin told Blues Revue in 1995. "I'm like the party master. The way a hostess gets at a house party. I'm walking around making sure the energy is up in every part of the room."
In 1997 Brenda received a BAMMIE nomination for Best Vocalist of The Year.She moved from San Francisco to Wuppertal, Germany in 2004 where she still resides.Great album from a lady who mixes all the genres of Black Music..Who can Resist!
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TRACKS AND LINE UP BELOW
The Second studio album from the mighty J.B.s....I LOVE ALL THINGS JAMES BROWN!
The J.B.'s were the legendary supporting cast of musicians behind James Brown, earning a well-deserved reputation as the tightest, best-drilled instrumental ensemble in all of funk. The name J.B.'s is most often associated with three hornmen in particular, saxophonists Maceo Parker and Alfred "Pee Wee" Ellis, and trombonist Fred Wesley, all of whom originally joined Brown's backing band at various points during the '60s. As a recording entity unto themselves, however, the J.B.'s enjoyed a distinctly defined heyday from 1970-1975, under the musical directorship of Wesley (though Brown, naturally, remained a strong presence). The J.B.'s were billed under a variety of alternate names on their own singles and albums. Fred Wesley and the J.B.'s, Maceo and the Macks, Fred and the New J.B.'s, the James Brown Soul Train, the Last Word, the First Family, and more. The core group of personnel, despite some turnover on the periphery, remained fairly steady from 1971 on, at least until Brown's creative downturn precipitated several important defections.
The first official version of the J.B.'s was formed in 1970, after the notoriously demanding Brown's regular band (excepting organist/vocalist Bobby Byrd) walked out on him. Caught in a pinch, Brown recruited a Cincinnati-based R&B band called the Pacemakers, who'd already toured behind Brown favorite Hank Ballard. Brothers Phelps "Catfish" Collins (guitar) and William "Bootsy" Collins (bass) anchored the lineup, as well as the first J.B.'s single, 1970's "The Grunt." The Collins brothers, of course, would play a crucial role in Brown's transition to heavy, groove-centered funk. One by one, some of Brown's previous bandmembers returned to the fold, including Fred Wesley, who accepted Brown's offer to become musical director of the J.B.'s in December 1970. However, the lineup splintered with the departure of the Collins brothers just a few months later, leaving Wesley with only guitarist Hearlon "Cheese" Martin, drummer John "Jabo" Starks, and tenor saxman St. Clair Pinckney. This nucleus was quickly fleshed out with bassist Fred Thomas and saxophonist Jimmy Parker (who'd never played alto prior to joining the band)soon, there was also a trumpet section, usually featuring Jerone "Jasaan" Sanford, Russell Crimes, and Isiah "Ike" Oakley.
Brown began to release recordings by the newly constituted J.B.'s on his own People label with some frequency beginning in 1971, and the group scored a couple of Top 40 R&B hits with "Pass the Peas" and "Gimme Some More." By 1972, previous Brown guitarist Jimmy Nolen had returned alongside Cheese Martin, and conga player Johnny Griggs was back in tow as well. That year saw the release of the first J.B.'s full-length album "Food for Thought". Wesley was still the band's only real soloist, so in early 1973, Brown convinced legendary alto man Maceo Parker to rejoin. His first record back with the group was "Doing It to Death," a long jam with guest vocals from Brown that topped the R&B charts in edited form,it was also the title track of their second album, and the first single credited to Fred Wesley & the J.B.'s, affirming that Wesley was still without question the leader. Still, the J.B.'s also began to cut sides under the name Maceo & the Macks, including the Top 20 R&B hit "Soul Power '74" and the 1974 album "Us". Meanwhile, under their original name, the Wesley-led J.B.'s released another successful LP that year in "Damn Right I Am Somebody", which spun off three Top 40 R&B hits in "Same Beat," "If You Don't Get It the First Time, Back Up and Try It Again, Party," and the title track. The follow-up album, "Breakin' Bread", issued later that year, was credited to Fred and the New J.B.'s, even though the band's personnel remained essentially the same (although John Morgan was easing into Starks' slot as the regular drummer).
By late 1974, however, Brown's commercial momentum was beginning to slow, and that carried over to the J.B.'s as well. The First Family single "Control (People Go Where We Send You)," which featured Brown, Lyn Collins, and other vocalists, failed to perform up to expectations. By the time of 1975's "Hustle With Speed" album, band morale was low, and Wesley was growing frustrated with Brown's sudden loss of direction. On the Fourth of July, Wesley quit the group to join up with George Clinton, and Maceo Parker soon followed. Bassist Thomas, drummers Starks (who'd joined B.B. King's band) and Morgan, guitarist Martin, and saxophonist Jimmy Parker all drifted away, leaving Jimmy Nolen and Russell Crimes the only consistent members left on the final J.B.'s single, 1976's "Everybody Wanna Get Funky One More Time." Polydor subsequently shut down Brown's People Label, effectively ending the myriad side projects he'd managed during the first half of the decade. He continued to tour with differing versions of the J.B.'s, including a late-'70s outfit dubbed the J.B.'s International, but for all intents and purposes, the true J.B.'s no longer existed.
Periodic J.B.'s reunions ensued in the years to come, Wesley, Parker, and Alfred Ellis (who actually only played on a couple of J.B.'s sessions) toured Europe with Bobby Byrd in 1988, and cut a reunion album, Pee Wee, Fred and Maceo, the following year. They continued to tour and record together off and on during the '90s under the name the JB Horns. A more extensive J.B.'s reunion took place in 2002 on the album "Bring the Funk On Down", which also included Bootsy Collins, Bobby Byrd, and Jabo Starks, among others....This was like putting a jigsaw puzzle together!...but now you get the whole picture!....IVE ALSO INCLUDED A BRILLIANT MIX FROM A FEW YEARS BACK AS A BONUS!...This album Still sounds Great after all these years!
THE TASTERS BELOW!
The line up of perhaps the Greatest Funk band Ever!!!!
James Brown - lead vocal
Fred Wesley - trombone
Maceo Parker - alto saxophone
Darryl "Hasaan" Jamison - trumpet
Jerone "Jasaan" Sanford - trumpet
Ike Oakley - trumpet
St. Clair Pinckney - tenor saxophone
Eldee Williams - tenor saxophone
John "Jabo" Starks - drums
Jimmy Nolen - guitar
Hearlon "Cheese" Martin - guitar
Fred Thomas - bass
TRACKS ON BACK COVER BELOW
The opening track and title inspiration is Aaron Collins & the Teen Queens’ ‘Every Saturday Night’. Its R&B pedigree is inestimable,Collins was a member of Los Angeles vocal group the Flairs/Flares and wrote songs for Z.Z. Hill, Jackie Day, Cookie Jackson and others. Ray Charles recorded his ‘Every Saturday Night’ for ABC in 1972. The Modern tape vaults have given up this original 1966 R&B take of the song with Collins and his sisters, the Teen Queens, performing at their best,all the more remarkable as Rosie and Betty had not recorded since 1962 and it was to be their last session, both dying tragically a few years later.
More unissued beauties come from East Coast outfit the Corvairs with ‘I’ll Never Do It Again’, ‘Satisfied’ by Oakland’s funky bluesman Johnny Talbot, Gay Meadows’ Atlanta-recorded ‘Head Doctor’, and gems by obscure Ohio R&B outfits Pee Wee Foster, Little Macey & the Valiants and Big Charley & the Domans. Rare 45s come in the shape of Curly Mays’ ‘I’m Walkin’ On’, Pat Garvis’ ‘Turn Your Lamp Down Low’, ‘Triple Zero’ by Esko Wallace and ‘Your Yah-Yah Is Gone’ by New Jersey girl group the Tren-Teens. There are tracks that went largely undiscovered by Prince Conley, the Lon-Genes and Rob Robinson. Other highlights include the then recently discovered Freddie Williams track ‘Purty Little Mama’ recorded for Norman Petty in New York, Slim & the Twilights’ New Orleans-sounding ‘Family Man’ and Tony Clarke’s early Maga Rare Detroit Northern Dancer ‘Love Must Be Taboo’, all presented digitally from master tape for the first time.CANT BEAT THESE OLDIES BUT GOODIES!!!
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A TASTER BELOW!
San Franciscan soul has traditionally had more of a bluesy flavour than that of its sophisticated cousins from Detroit, Chicago, New York or Los Angeles. The vast immigration of southern African-Americans to the dockyards of the Bay Area during World War II created an audience with an appetite for earthier, rawer sounds, from the R&B and funk of earlier decades to the rap and hip hop of today. That said, during the 1960s and early 1970s there were many classy uptown soul productions from the area, by versatile artists such as Sugar Pie DeSanto, Eddie Foster, Little Stanley, the Ballads, the Whispers, the Natural Four and others. And it would be safe to say that some of the best recordings in that genre, as featured on this disc, were made at Leo Kulka's Golden State Recorders.
A native of Czechoslovakia, Kulka opened up shop in San Francisco in 1965. For a lengthy period he had the only truly Hollywood-style studio in the area, a fact which appealed to local artists as well as arrangers and producers like Rene Hall and Wally Cox, who put the facilities and Kulka's engineering expertise to good use. Kulka also signed many acts himself, either leasing the sides to outside labels like MTA and Acta, or issuing them himself on Golden State and its associated imprint Golden Soul.
With Golden State Soul we examine his many black productions of the same era. Much of this material was not issued originally, but its quality is nevertheless outstanding, and will surely appeal to any soul lover. Personal highlights include the San Francisco TKOs' smooth harmonies on "Make Up Your Mind",(a big hit at all-niters)the simple but effective "I Had A Girl" by the pride of Berkeley High School, the Savonics,the driving blue eyed sounds of the Spyders and the Generation, the latter featuring Lydia Pense of Cold Blood,and the undeservedly obscure voice of belter Jeanette Jones.Fog City,s Finest In Soul!
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ARTISTS AND TRACKS ON BACK COVER BELOW(FLAC)
Time to drag the cat in for more Entertainment!
A TASTER BELOW!
ARTISTS AND TRACKS ON BACK COVER BELOW WITH RECORD LABELS TAGGED TO TRACKS
Bobby Story is really Bobby Patterson who was born in 1944,his life in music has had many facets. Whether as a DJ in Texas (he had a popular show at the Dallas-based radio station KKDA until 2012), a producer for artists like Fontella Bass & Roscoe Robinson, a writer whose work has been covered by everyone from Albert King to Jeff Tweedy, or as a recording artist – Bobby always brings the soul! Mr. Patterson’s career résumé includes every aspect of the business as a recording artist, singer, songwriter, producer, label owner and promoter.
He began performing when he was ten, playing guitar and drums. In his early teens his band (The Royal Rockers) won many talent contests, including one in 1957 which earned him a trip to California to record a single for Liberty Records. In 1962, Patterson recorded for Abnak Records and convinced the label’s owner to start a soul division, called Jetstar Records. Bobby Patterson recorded for them for the next six years, becoming a talented songwriter, producer, and promoter in the process.Bobby wrote numerous hits (all self-penned) and next to recording under his own name, he also went on to produce and promote records made by other artists…he was even awarded with gold records for his work as a promoter for LL Cool J and RUN DMC. In 1972 Bobby signed with Paula records and recorded another milestone of his, the album "It’s Just A Matter Of Time".To this day Bobby continues to delight his longtime fans (and first-time listeners) with his stage presence and overall high-spirited performances. Patterson’s personality, combined with his nostalgic aura, produce an unforgettable live experience…bringing his energy and vibrancy to audiences wherever he appears. Bobby is engaging and stunning audiences around the World with his charm and unique showmanship.
On the album I am presenting you today (The Storyteller, recorded under his alias BOBBY STORY you’ll find elements all of the above and more! The LP is classic “storytelling” Modern Southern Soul, with so many magical moments all the way through. The tracks on here were actually recorded in 1976-1977 but were only released in 1982 (on Bobby’s own label Proud). All the songs were produced by Bobby Patterson himself and are the perfect mix of sensitive ballads and dance tracks to let you boogie all night long. What we have here is THE perfect blend of soul, funk and blues… The Storyteller is deep soul done right and it has been fascinating DJ’s, fans & collectors since the very start.
This Rare Classic (original LP copies tend to go for large amounts on the market....circa £100 here in UK) is now finally back on this Blog for you all to enjoy!...Why he made this under an alias is anyone,s guess ?....THIS IS PURE SOUL !
Listen
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TRACKS ON BACK COVER BELOW
Jazz-influenced pianist Willie Tee(Wilson Turbinton) is a New Orleans musician. He started recording with his brother Earl Turbinton for Harold Batiste's AFO Records in 1960 and by 1965 had scored a top twenty hit with the breezy, laid back "Teasin' You," followed by a string of similarly great uptown soul cuts on Nola Records. "Thank You, John," and especially the superb "Walking Up A One Way Street" never came near the chart position of "Teasin' You" but all became instant classics in the Carolinas where the Shag Scene had already taken off & the UK,s Northern Soul Scene. Now as popular as ever, Tee's songs rank alongside Beach Music favorites like Brenton Wood's "Gimme Little Sign," the Showmen's "It Will Stand" and Maurice Williams' "Stay."
Wiliie Tee In the late sixties Tee launched a second career that just added another dimension to his already complex musical personality when he formed the Gaturs, a tough instrumental combo that specialized in self-produced psychedelic funk released all their material on their own label, Gatur Records. Sounding like Booker T.& the MGs facing off with a Mardi Gras Indian Tribe on deep funk classics like "Wasted" and "Gator Bait" and the Impressions or Archie Bell & the Drells on "First Taste Of Hurt" and "Funky, Funky Twist," the Gaturs not only provided the perfect soundtrack to the Crescent City, circa 1970, they released all their material on their own label, Gatur Records. The recent funk frenzy has catapulted the multi-faceted Tee to the forefront once again, where his work is considered second only to that of Eddie Bo in the realms of revolutionary New Orleans funk.
The Gaturs were not as well known as the Meters and not as minimalist in their take on funk, but like that group they created a distinct sound based on the party atmosphere for which New Orleans is famous. Led by veteran session musician Willie Tee, the Gaturs' jazz-inflected funk and soul only made it to a handful of singles, but did pave the way for Tee's next project -- as bandleader for the festive chants of Mardi Gras Indians the Wild Magnolias.
Thank God Tuff City/Funky Delicacies released this CD of issued and rare unissued Gaturs and Willie Tee sides from his Gatur label.This has it all ,every genre of soul you could possibly hope for!....and then some!...The Gaturs are Willie Tee (Wilson Turbinton), Larry Penia, Irvin Charles, June Ray.
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AMM
I RATE THIS COLLECTION SO GOOD YOU GET 2 TASTERS GUYS!.....AWESOME!
TRACKS ON BACK COVER WITH BONUS,S!(FLAC)
