Little Milton - Sings Big Soul (Malaco Comp 2014)

The title of Ace's 2014 compilation emphasizes Little Milton's singing, which is appropriate as that was the featured instrument on his albums for Malaco. Little Milton was with the Southern soul label for nearly 20 years, debuting in 1984 with Playing for Keeps and leaving after 2002's Guitar Man. Little Milton Sings Big Soul culls 18 highlights from these records, slightly emphasizing his ballad side but finding space for some deep soul and funky grooves. This doesn't proceed in chronological order -- it opens in 1984, then hopscotches through the decades -- but that winds up emphasizing how Milton's records were consistent, always working from the same formula and containing the same punchy, slightly too clean production. Record by record, this could get a little wearying, but a cherry-picked compilation such as this is a testament to a giant in winter: it shows he had a mastery of the form, that he never lost his powerful skills and could always be counted on to entertain. As a portrait of the last third of his career, this compilation could hardly be better. (AllMusic Review by Stephen Thomas Erlewine)

Little Milton - Friend of Mine

"Recorded in the wake of the collapse of Stax Records in 1976, Friend of Mine brushed up against a long fallow period in Little Milton's recorded output, and was also unavailable for many years, thus making it one of his least-known albums. Produced by Milton for Henry Stone's TK Records and issued on the Glades Records imprint, this is a soulful blues workout drenched in sweaty vocals and long, sustained performances, of which perhaps the best is the five-and-a-half-minute "You're Gonna Make Me Cry," which also includes some impressive guitar. The record's strongest body of songs are the smooth soul ballads such as "Baby It Ain't No Way," the rousing "Don't Turn Away" (a song that one wishes Elvis Presley could have discovered and considered covering), "I'm in Love With My Best Friend's Wife," and "Bring It on Back," but it also includes one really hot lament, "Sundown," that crosses into soul territory without compromising its solid blues credentials. There's a lot of solid playing here, by bassist Bernard Reed and guitarists Danny Raye and John Bishop (and Milton), among others, and the Haywood Singers give excellent singing support. This album and its immediate follow-up, Me for You, You for Me, represent the bridge between Little Milton's Stax and Malaco recordings, both chronologically and stylistically."

Little Milton - 3 Checker LP's

Each of these Checker LP's includes tracks that did not make it into the previous Chess compilation, so rather than dissect them, I'll post them whole with thanks to whomever I got them from originally.

Little Milton - Live at Westville Prison

"You're gonna wish you had been there after listening to this scorching live set from the '80s. It features the blues singing of Little Milton superbly accompanied by Lucky Peterson, who distinguishes himself on the organ, and the Tony Brown Band. This CD is a combination of two concerts recorded separately in a single day -- one for men, one for women, in 1983. Milton does none of his big hits, which doesn't seem to bother the captive crowd, most of whom probably didn't know them anyway. Highlights include an emotional reworking of O. V. Wright's "Eight Men, Four Women," a 16-minute medley of soul and blues songs, and the deep soul classic "That's How Strong My Love Is." Milton really gets into it for the women. He coughs up two smoldering original compositions "Friend of Mine," and "Loving You Is the Best Thing That Happened to Me." The most surprising thing about Live at Westville Prison is why it took so long to surface on CD." AllMusicGuide

Little Milton - Chicago Blues & Soul...(1953 - 1962)

This disc has a large overlap with the previously posted Anthology disc, but about 20% of that disc is not here and about 40% of this disc is not there. Someday I may resolve the 2, but that day is not today. There  are a couple Sun alternates not included on the 2 discs and some of the Bobbin stuff is missing as well (not much). A couple alternates appear in the Charley Sun Blues Box and I'll go through the Bear Family version of the Sun Blues Box later today because Cliff thinks that it may have other alternates. He also believe he has the rest of the Bobbin tracks on a comp, but he can't recall the name of that comp. Isn't old age marvelous?

Little Milton - The Essential Chess Recordings

I'm thinkin' that Little Milton has been sadly under served here and it is time we remedied that situation!

Various Artists - The Birth Of Modern Blues

This surprisingly cohesive set collects the complete 1950s recordings of Fenton Robinson, LittleMilton, Little Junior Parker, Earl Forest, Johnny Ace, and Bobby "Blue" Bland for the various Bihari Brothers labels (Meteor, Flair, and Modern) and adds four cuts from B.B. King's 1950 session for RPM Records. The result is a nice anthology of mostly uptown blues tracks highlighted by Robinson's impressive and soulful "Tennessee Woman," Forest's deliciously loose "Rumpus Romp," Bland's early signature tune "Drifting from Town to Town," and King's "B.B.'s Boogie," which finds the guitarist honking along joyously on a semi-improvised vamp. A young Matt Murphy is featured on guitar on Junior Parker's two sides.
(AllMusic Review by Steve Leggett)

Some years ago I was looking for a copy of Little Milton's 'Love At First Sight' and couldn't find it anywhere. I eventually found and purchased an obscure Japanese CD that did have this rarity. And here it is with some other rare recordings. Some, like the B B King sides, are easy to locate but this disc is a pretty expensive buy ...if you can find a copy. 
It sounds like they lifted these sides direct from the vinyl originals but it's very listenable if you are into historic recordings. Anyway...it is what it is...and now available at 'Chitlins' for those that cherish this stuff. Musician details are in the scans - Gus

Tye Tribbett - Greater Than

This is a rarity for me, new, modern powerhouse Gospel. Unky Cliff sent me this months ago, but I just got around to putting ears on it because I wasn't all that interested. Mistake! Yes it is more modern and musically not what I'd call ,straight up my alley', but whew, this powerful stuff! Really well recorded, apparently in front of a large congregation. Well worth a listen!

 "One of gospel music's fastest-rising stars, Tye Tribbett's Greater Than shows again his fresh and open-minded approach to the genre. He keeps the solid bass runs, organ embellishments, and vigorous, energetic choral vocals of traditional gospel, but then melts in modern and contemporary urban touches with funky horns, synths, electric guitars, and impassioned singing that is equal parts praise and party."

"Tye Tribbett first came to national attention in 1997 when he entered his group, GA, into the McDonalds and Wrigley's Gospel choir competitions, where they 'swept the competitions,' winning first place in all categories. The group quickly became highly in demand, performing with music industry superstars Gloria Estefan, LeAnn Rimes, Elton John, Luther Vandross, and Stevie Wonder. They also appeared with Jill Scott, India Arie, John Mellencamp, Musiq Soulchild, and The Roots, among many other artists, and toured with Faith Hill and Don Henley. Tribbett and his group performed 'Let Go, Let God' on the soundtrack of the Dream Works animated film 'The Prince of Egypt' with award-winning duo Mary Mary. The group also appeared on Commons' Electric Circus album, Jessica Simpsons' Christmas album, Will Smiths' project 'Lost & Found', on a song featuring Mary J. Blige, and Justin Timberlake's 'Cry Me A River.'

His highly anticipated debut album, 'Life' (2004), brought Tribbett and his group, GA (Greater Anointing), a wide array of new fans and a Stellar Award nomination. Tribbett's sophomore project with GA, 'Victory', was released in 2006, debuting at #1 on Billboard's Top Gospel Albums chart. This break-out project, which included the #1 gospel radio single, 'Victory,' received three Stellar Awards, three GRAMMY® Award nominations and a Dove Award nomination. His third release, 'Stand Out' (2008), again topped the charts and earned the group another nomination for a GRAMMY® Award. In 2009, Tribbett, who is also an accomplished musician who plays multiple instruments, retired GA and made other changes in his musical style and direction, resulting in the 2010 release of the aptly named 'Fresh'. The CD, which the Washington Post called 'a wondrous album,' also entered Billboard's Top Gospel Albums chart at #1."

Vance Kelly - How Can I Miss You When You Won't Leave

Somethin' new from our favorite Unky. Kinda hard to resist.

"(2017/Wolf Records) 14 Tracks - 2017 release from the blues award winner. The album was recorded in Chicago and features a mix of blues, R&B and soul. Vance Kelly has performed regularly at various music venues in the Chicago area, chief among them being the 1815, Checkerboard Lounge, Rosa's Lounge, Kingston Mines, Buddy Guy's Legends, and B.L.U.E.S. A music journalist noted of Kelly, "Like Primer, he combines an enquiring eye for a song with a moderately conservative taste in sound, producing music that lives by the principles of classic Chicago bar blues yet is not enslaved by the past".

 

Joe Tex - Yum Yum Yum The Early Years 1955-1962

Joe Tex was one of the most original soul stars of all time. With his raspy voice and a hint of Little Richard, he certainly had a style of his own. One listen to his number 'Yum Yum Yum' and you'll get an idea of his rock and roll / proto-soul style.

This is the most comprehensive set of his singles yet released on CD and includes all the singles he made before achieving fame in 1964.

Arguably the most underrated of all the 60s soul performers, Joe Tex, with his unique style singlehandedly laid some of the most important parts of rap's foundation.

Little Milton - Anthology 1953-61 & The Complete Stax Singles (1971-75)

It's Little Milton Time ! Well we all have (or should ) the hits on Chess/Checker, they're all over the net . But his earlier material on Sun and Bobbin are less seen or known. Also his time with Stax is  less familiar...These 2 albums will put this right ...LM lasted the changes in music history, Blues, Soul, Funk...as these recordings will prove...A soulful distinctive voice, guitar chops and original songwriting with bags of passion.  'That Will Never Do' (covered by Freddie King and many others) 'That's What Love Will Make You Do' confirms him as a legend...His similarity to the B B King style may have put him in the background to many but he is a lasting hero of the music we call the Blues...Check these albums out as proof - Gus 

Little Junior Parker - Blues Man (1969)

Little Junior Parker or just Junior Parker was a great soulful Blues vocalist and harmonica man . This album seems to have been overlooked during the rush to digitalise everything worthy. Its a good listen with some tasteful horn arrangements - I don't know the source of this LP rip, I've had it for some time and it's in very decent nick ! Thanks to the original uploader - Let's hope we get a CD version soon ! - Gus

Faye Adams - I'm Going To Leave You

You can find a very clear PDF of the back cover here: http://www.45worlds.com/vinyl/album/rb110 - The notes are by Opal Nations --
This is my rip of the Mr. R & B lp.

Adams was born in Newark, New Jersey. Her father was David Tuell, a gospel singer and a key figure in the Church of God in Christ (COGIC). At the age of five she joined her sisters to sing spirituals, regularly performing on Newark radio shows.

Under her married name, Faye Scruggs, she became a regular performer in New York nightclubs in the late 1940s and early 1950s. While performing in Atlanta, Georgia, she was discovered by the singer Ruth Brown, who won her an audition with the bandleader Joe Morris of Atlantic Records. Having changed Scruggs's name to Faye Adams, Morris recruited her as a singer in 1952, and signed her to Herald Records. Her first release was Morris's song "Shake a Hand", which topped the US Billboard R&B chart for ten weeks in 1953 and reached number 22 on the US pop chart. It sold one million copies and was awarded a gold disc.

In 1954, Adams had two more R&B chart toppers with "I'll Be True" (later covered by Bill Haley in 1954 and by a young Jackie DeShannon in 1957) and "It Hurts Me to My Heart". During this period, she left the Morris band and was billed as "Atomic Adams". She appeared in the 1955 film Rhythm & Blues Revue. In 1957 she moved to Imperial Records, but her commercial success diminished. By the late 1950s she was seen as an older recording artist whose time had come and gone, although she continued to record for various small labels until the early 1960s.

By 1963 she had retired from the music industry. She remarried and, as Fannie Jones, returned to her gospel roots and family life in New Jersey.

Junior Parker - You Don't Have To Be Black To Love The Blues

Had Junior Parker not died Far too soon, who knows what additional treasures he could have left us. Given a longevity like Bobby or B.B. he appears to have had the creativity to have been a major dude for a long time. This Groove Merchant LP from 1971 certainly seems to indicate that he had plenty left to say and the open ears to stay relevant.

Ya gotta love the cover!

Johnny Tucker - Seven Day Blues

Something new from our dear Unky Cliff.

In the world we live in today it is rather easy to assume that there is no 'new' music that could properly be called Blues. Leave it to Unky Cliff to discover one of the few real exceptions!

"
It is something of a mystery why Johnny Tucker isn’t better known. He has been making music professionally since he first moved to Los Angeles back in 1964, singing in a James Brown tribute act before joining Philip Walker’s band as the drummer before moving on to play with the likes of Johnny Otis, Floyd Dixon and Robert Cray. His first album for HighJohn Records, Why You Lookin’ At Me?, was released in 2006, the same year as the wonderful Floyd Dixon Celebration, Time Brings About A Change. Tucker turns in engaging performances on both the CD and the DVD recordings of the two-night gig held to honour the legendary pianist and singer. He is a talented singer, with a warm, rough-hewn voice that straddles the border of blues and soul, as well as being a sharp-witted songwriter – all 15 tracks on Seven Day Blues were composed by him.
For his long-overdue second album on HighJohn, label chief Bob Auerbach put the singer together with Big Jon Atkinson and a hand-selected band of musicians. The tactic of pairing a veteran singer with younger acolytes doesn’t always work, especially when the backing musicians overwhelm the singer they are meant to support (viz, The Howlin’ Wolf Album). But when it does work, on albums like Nappy Brown’s 2007 Long Time Coming (with superb support from Sean Costello) or on Muddy’s 1977 Hard Again, the results are magical, with the authority and maturity of the older singer given a shot of the energy and excitement of youth. Seven Day Blues is very much in this latter category.
The core band comprises Atkinson and Scott Smart (who play both guitars and bass on different tracks), Troy Sandow on harmonica and bass, and Malachi Johnson and Marty Dodson and drums. Bob Welch contributes organ to the Sam Cooke-styled soul of “Love And Appreciation (To Georgia)” and the jump blues of “Tell You All”, which also features the guitar talents of Kid Ramos. Bob Corritore also contributes harp to five tracks. From the opening Howlin’ Wolf-esque, “Talkin’ About You Baby”, it’s obvious that the musicians understand how to bring the best out of Tucker’s voice. They know when to step forwards for their solo spots, but they never get in the way of the song.
Each song on the album was recorded live at Atkinson’s BigTone Studio in Hayward, CA, with all the players in one room, playing vintage gear and recorded on vintage equipment, and this commitment to authenticity comes through on every track. From the uptown Chicago shuffle of “Tired Of Doing Nothing” to the aching slow blues of the closing “You Can Leave My House”, via the primeval funk of the title track and the echo-drenched slide of “Do-Right Man”, each song reeks of deep emotion and well as a true understanding and appreciation of the way music used to be made.
Packing 15 songs into 57 minutes, there is no room for filler or fat on Seven Day Blues. Indeed, whilst it is dangerously presumptive to make predictions in January, it is not foolhardy to suggest that Seven Day Blues is an early contender for one of the albums of the year." Blues Blast Magazine

Jerry's Saloon Blues

Something old from our dear Unky Cliff. While most of the Flyright material has made a web appearance at some point or another, this one has remained stubbornly unavailable despite being consistently mentioned in books about this period's recordings. Problem solved!

"This chapter presents an account of a 1940 field recording trip by John and Ruby Lomax. The account, which initially appeared as the liner notes for Flyright Album 206 (1975), focuses on an encounter with Oscar “Buddy” Woods, two other local black musicians named Kid West and Joe Harris, as well as members of Lead Belly’s extended family. West and Harris demonstrated their lively and varied repertoire for Lomax, who recorded older ballad and country dance material such as “Railroad Rag,” “Bully of the Town,” and “Old Hen Cackled and Rooster Laid an Egg.” Paul Oliver

Best of Proverb & Gospel Corner Records 1959-1969

Another priceless Gospel collection from OUR Gospel friend, Unky Cliff.

By Bob Marovich

"Gospel music has had many multi-taskers, chief among them the late Brother Henderson of Los Angeles, California.

In the late 1950s, Sylvester C. “Duke” Henderson forsook his R&B singing career, hung up his rock and roll shoes, and plunged headlong into sacred music. He ran the popular All Gospel Record Store in L.A., hosted his own gospel music radio show on 50,000 watt XERB, wrote and published songs, promoted concerts, and headed up two record labels: Proverb and Gospel Corner.

Despite Henderson’s prolific activity, no commercial reissues have given him his propers until now. Best of Proverb & Gospel Corner Records: 1959-1969, from Per Notini’s NarroWay Records out of Sweden, is a 52-track survey of Henderson’s rich roster of artists, many of whom were West Coast favorites. One, the Mighty Clouds of Joy, went on to conquer the world.

The two-disc set starts, appropriately, with one of the earliest recorded appearances by the Clouds. “Jesus Is Real,” circa 1959, showcases Joe Ligon on lead, shouting sandpaper rough even back then. It is followed by the Pilgrim Travelers, arguably the label’s biggest signing, and by then led by James Wafer but without the storied Specialty lineup. “When I’m Gone” demonstrates the same hard singing as the Clouds’ track, even though the Travelers were best known for their walking rhythm and low-key tight harmonies. On the other hand, the Travelers’ take on Dorsey’s “Peace in the Valley” is evocative of its 1940s and 1950s work for Specialty.

What distinguishes this set, and Henderson’s musical ears, is the variety of sacred styles it contains. While heavy on male quartet, as that appeared to be Henderson’s sweet spot, there is a choir (Watts Community Choir), a lining hymn (Rev. W. E. Jasper), rhythmic jubilee singing (Victory Five of Sacramento), a Cleophus Robinson-Josephine James-y duet (Prince Dixon and Sis. Walter Paige), and topical songs (Prince Dixon, Madame Nellie Robinson, and Henderson himself). As gospel artists today often say about their albums: there’s something here for everyone.

The musical accompaniment on Proverb and Gospel Corner singles gets progressively more psychedelic as time winds on. Prince Dixon’s “Keep On Fighting” includes trebly electric guitar riffs. The organ on Dixon’s memorial to the Rev. Dr. Martin Luther King, Jr. (“April 4, 1968”) gives this Brother Will Hairston-esque treatment a decidedly pop tinge. The same peppy organ (not a churchy B3 by any stretch) propels the Fabulous Ohio Wonders’ “Why Should I Feel” and on the Victory Five’s Golden Gate Quartet-style “John.”

Special gems are a very early Chambers Brothers track, “Just a Little More Faith,” a 180-degree difference in sound from their 1967 hit, “Time Has Come Today.” “Hold Me in Your Arms” by the Mighty Sons of Fort Worth, Texas, is rendered in the classic vocal harmony group style. The Sweet Singing Cavaliers’ “Hold Me” is electrifying, possibly their best cut ever. Brother Henderson’s first dip in the baptismal pool, the rare 1955 “I Made Up My Mind,” sung with a group called the Spiritual Lambs, is available here, possibly for the first time on CD.

Although male dominated, the set does include the distaff Page-Ettes and the Nu-Lite Gospel Singers of Kansas City, the latter giving “Lot’s Wife” and “You’ve Been So Good” strong readings. Henderson’s mother, Helen, formerly with the Simmons-Akers Singers, is represented as a soloist on the fine “He’s a Light,” written by Akers and recorded sometime prior to Proverb’s founding. The mixed voice Watts Community Choir offers a youthful sound on “Keep On Keeping On” and “He Aint’ Heavy.” Sister Walter Paige of the Page-Ettes, Madame Nellie Robinson, and Lady Bird are also among the female soloists.

The entire production is crystal clear, thanks in large part to Henderson’s production talents but also to Notini’s flair for reproduction. The informative illustrated liner notes give the enthusiast as much knowledge about Henderson as exists, depicting an entrepreneur who made a living by giving the little guy a chance. A must for gospel music fans who revel in the pop-infused traditional gospel of the 1960s before it became contemporary."

The Sensational Saints - 'You Won't Believe It"

It has been awhile since our last gospel post, in part because I've posted so much gospel by now that I no longer remember what has and hasn't been posted. These guys from Cleveland are really interesting, check it out.

"Formed in the early ’50s under the watchful eye of Tuskegee, Alabama, transplant Charles Chambliss, the Sensational Saints were handpicked from a Cleveland clothing store, a pool room, and from a group of friends singing from a third story window. After years spent rotating members and issuing stray singles for assorted non-denominational imprints, the group connected with the vocally inclined Reverend Melvin Kenniebrew at the close of the ’60s, making good on their “Sensational” boast. “With God in their hearts and singing on their minds,” the Sensational Saints mounted their crown jewel in 1973 with “You Won’t Believe It” (Try It You’ll Like Us). Pressed in conservative quantities by local gospel magnate James Bullard on his King James label, the group's lone long-player perfectly encapsulates the intersection of funk and gospel as only the religious conversion of a Bill Wither's tune can do."

The Gaturs - Wasted, 1970

The 'other' great original New Orleans funk band, sometimes called the Gaturs and other times The New Orleans Project. At their best they were every bit the equal of The Meters (their best was behind the Wild Magnolias), and while this may not be quite their best, it don't suck either.

Blind John Davis - Moanin' The Blues

Artist Biography by Bill Dahl

Versatility was integral to the musical mindset of John Davis. Although he was world-renowned as a blues pianist, he was proud of his innate ability to play ragtime, a little jazz, even a schmaltzy Tin Pan Alley ditty or two. And he did it all for more than half a century. Born in Mississippi, Davis was in reality a Chicagoan, having moved there before the age of three. He lost his eyesight after stepping on a nail when he was nine, but that didn't stop him from learning the 88s as a teen. That way, he could pick up a few bucks by playing in his father's "sporting houses."

Davis held down the enviable position of house pianist for prolific record producer Lester Melrose from 1937 to 1942, rolling the ivories behind the illustrious likes of Sonny Boy Williamson, Tampa Red, and Memphis Minnie for Bluebird, Columbia, Decca, and any other firm the powerful Melrose was connected with. After World War II, the blind pianist assembled his own trio, recording for MGM in 1949-1951. He traveled to Europe with Broonzy in 1952 in what may well have been the first overseas jaunt for any American blues artist.

The pianist remained musically active after that but seldom recorded domestically, saving most of his studio energy for his European tours (a jaunty, typically eclectic 1985 album for Chicago's Red Beans label being a notable exception). Davis' suave, genteel approach didn't jibe with the rough-edged Chicago blues of the '50s, but his sophistication was timeless.

Andrew Dunham & Friends - Detroit Blues Volume 2, 1948-49

A repost by request:

Some of this material has been released on a recent CD, but only about half of it for reasons I can't explain. This is my rip of the original LP.

Bluesin' By The Bayou - Rough N' Tough

"The attitude of this volume of Ace's Bluesin' by the Bayou can be summed up in its subtitle: every one of these 28 tracks is "Rough 'N' Tough," a low-down, greasy blues shuffle that emanate from deep in the Louisiana swamps. Unlike other volumes of the By the Bayou series, which rely almost entirely on unknowns, there are a fair number of heavy-hitters here, including the king of Louisiana blues Slim Harpo and his Zydeco counterpart Clifton Chenier. Neither artist is represented by a previously released track, so Rough 'N' Tough maintains the archival bent that has made the By the Bayou series such an unexpected blast. A fair chunk of this collection of sides recorded in the late '50s and early '60s wasn't released at the time and much of it shows up here for the first time, but the entire compilation plays like a hopping, rocking record machine in a forgotten backwoods juke joint."All Music Guide

Blusin' on the Bayou - I'm Not Jiving

Apart from a handful of sides clustered toward the end of the collection, almost everything on Ace's 2016 Bluesin' by the Bayou: I'm Not Jiving -- the latest in their ongoing By the Bayou series, a collection that has run so long it's hard to keep count of the volumes, although this would be the third designated as strictly "Bluesin'" -- didn't see release until many years after its recording. Some of the cuts showed up on various collectors imprints in the '70s and '80s but only a handful of the sides actually came out when they were recorded: Chris Kenner's "Don't Let Her Pin That Charge on Me," Clarence Garlow's "I Feel Like Calling You," Boozoo Chavis' "Bye Bye Catin," and Henry Clement's "Late Hour Blues," to be specific. None of these were hits, which reemphasizes that this is an archival trawl, not a treasure trove of hits, and that's the good thing about it: it's a collection of swamp blues and Slim Harpo boogies, all distinguished by their cinematic murk and gritty rhythms, the very thing that makes this seem like a time machine back to the glory days of Louisiana juke joints. All Music Guide

Jimmy Holiday - Spread Your Love: The Complete Minit Singles 1965-1970

"A soul singer whose success as a recording artist never matched his success as a songwriter, Jimmy Holiday is best-known for penning "Put a Little Love in Your Heart" along with Jackie DeShannon and Randy Myers. By the time that song appeared in 1969, Holiday had been grinding away at the soul circuit for over a decade, a trek that culminated in a hit in 1963 with "How Can I Forget" and then a contract with the New Orleans-based R&B label Minit in 1966. Despite strong work, Holiday never became a star and faded away in the '70s.

Born on July 24, 1934 in Durant, Mississippi, Jimmy Holiday was raised in Iowa. After flirting with a career as a boxer, he devoted himself to music, first playing alto saxophone in jazz combos before transitioning to writing and singing R&B. He released his first single, "Voice of the Drums," on the Los Angeles-based Four Star in 1958, but it stiffed and it took him a while before he wound up on Everest Records in the early '60s. Everest put out Holiday's "How Can I Forget" in 1963, and it unexpectedly took off, climbing all the way to eight on Billboard's R&B charts while reaching 57 on the Hot 100. Further singles for Everest didn't go anywhere and he hopped around recording for a number of smaller imprints -- KIT, Tip Records, Diplomacy -- before signing with Minit in 1966.

Minit was where Holiday recorded the bulk of his catalog. "Baby I Love You," his first single for the label, wound up peaking at 21 in 1966 and while that wound up being his biggest hit at Minit, his work at the label is generally held in high regard among soul aficionados. A full album called The Turning Point showed up in 1966 and it went to 25 on the Billboard R&B charts. In 1967, "Everybody Needs Help" went to 36 and the funky "Spread Your Love" did one better in 1968, peaking at 35, but by that point his career was starting to slow. Worse, his health was starting to go: he collapsed after a concert in June 1968 and needed to have open heart surgery. He wound up spending much of the next year writing instead of performing, but he returned to recording in 1969 with "I'm Gonna Use What I Got," while continuing to work with DeShannon and Myers. Holiday's final single for Minit, "A Man Ain't Nothin' Without a Woman," showed up in 1970 and, like his 1969 sides, it failed to do business so his time with the label came to an end.

Holiday next recorded for Dial, releasing "Save Me" in 1971 and when that didn't catch, a fallow period followed before he showed up in the mid-'70s on Ray Charles' label Crossover. His single for the label, "When I'm Loving You," also didn't catch attention so Holiday decided to concentrate on writing. Eventually, he moved back to Iowa, where he died of heart failure on February 15, 1987. His Minit recordings have showed up on budget-line CD compilations over the years, but Ace's 2015 set Spread Your Love: The Complete Minit Singles 1965-1970 collected them all and offered the first biography courtesy of Tony Rounce's liner notes." Allmusic Guide

B.B. King - The RPM/Kent box

This is a one time post, when it is gone, it is gone...uploading something this big is a lot of work,

Kingcake's Real Mardi Gras

Album : Kingcake's Real Mardi Gras

Track : 1
Title : Carnival Time
Length : 2:41
Artist : The Wild Magnolias

Track : 2
Title : Mardi Gras In New Orleans
Length : 2:56
Artist : Professor Longhair

Track : 3
Title : Bourbon St. Parade
Artist : New Orleans Nightcrawlers

Track : 4
Title : New Suit
Length : 3:07
Artist : The Wild Magnolias

Track : 5
Title : Mardi Gras Mambo
Length : 2:47
Artist : The Meters

Track : 6
Title : La Chanson Du Mardi Gras
Length : 3:00
Artist : Sunpie & The Louisiana Sunspots

Track : 7
Title : Mardi Gras in New Orleans
Length : 5:26
Artist : Dirty Dozen Brass Band

Track : 8
Title : Hey Mardi Gras Here I Am
Length : 4:11
Artist : Chuck Carbo

Track : 9
Title : I Know You Mardi Gras
Length : 4:56
Artist : Bo Dollis

Track : 10
Title : Do Watcha Wanna
Length : 4:29
Artist : Rebirth Brass Band

Track : 11
Title : Beau's Mardi Gras
Length : 3:28
Artist : Beau Jocque

Track : 12
Title : At The Mardi Gras
Length : 2:27
Artist : Huey Piano Smith

Track : 13
Title : Dat's Mardi Gras
Length : 2:36
Artist : Jake The Snake

Track : 14
Title : All On A Mardi Gras Day
Length : 3:36
Artist : Wild Magnolias

Track : 15
Title : New Orleans Mardi Gras
Length : 2:52
Artist : Rosie Ledet

Track : 16
Title : New Second Line
Length : 2:39
Artist : Olympia brass Band

Track : 17
Title : Sew-Sew-Sew
Length : 5:15
Artist : The Golden Eagles

Track : 18
Title : Take Me Back To New Orleans
Length : 5:05
Artist : Big Al & The Heavyweights

Track : 19
Title : Indians Got That Fire
Length : 4:29
Artist : Cyril Neville

Track : 20
Title : Mardi Grass In New Orleans
Length : 2:16
Artist : Fats Domino

Track : 21
Title : Shallow Water Oh Mama
Length : 4:56
Artist : The Wild Magnolias

The 5 Royales - All Righty ! & The Very Best Of The 5 Royales

The "5" Royales was an American rhythm and blues (R&B) vocal group from Winston-Salem, North Carolina, United States, that combined gospel, jump blues and doo-wop, marking an early and influential step in the evolution of rock & roll music. Most of their big R&B hits were recorded in 1952 and 1953 and written by the guitarist Lowman "Pete" Pauling (July 14, 1926 – December 26, 1973). Cover versions of the band's songs hit the Top 40, including "Dedicated to the One I Love" (the Shirelles, the Mamas & the Papas),"Tell the Truth" (Ray Charles), and "Think" (James Brown & The Famous Flames). Brown modeled his first vocal group after the "5" Royales, and both Eric Clapton and the legendary Stax guitarist Steve Cropper cited Pauling as a key influence. Rolling Stones singer Mick Jagger covered "Think" on his 1993 solo album Wandering Spirit. 
The "5" Royales were inducted into the Rock and Roll Hall of Fame in 2015. (Wiki)







These 2 albums give you the essence of this great influential group, the early R & B hits on Apollo and the later classics on King. The track 'Think' on the King label is one of my favourite R&B tracks and was the template for a certain Steve Cropper, who I had the pleasure to meet and discuss the Lowman Pauling guitar style . - Gus 

Lord Have Mercy - The Soulful Gospel of Checker Records

"A much-needed look at an under-exposed side of the legendary Chess Records – the label's incredible run of gospel records, most of which were every bit as great as their Chicago soul sessions! This package is the first to really dig into that rich history – and has a wonderful focus on the grittier, funkier, groovier side of the label's catalog – served up here in a mix of rare album tracks, from records that have never been reissued – plus more stunners from funky 45s, most of which have been overlooked by soul collectors over the years. And yes, there's a spiritual message to these tracks, but it's often delivered with a very secular style – both in the vocals and instrumentation – as you'll hear on "Lord Keep Me Day By Day" by The Gospel Six, "Trying To Get Ready" by The Violinaires, "Soon I Will Be Done" by East St Louis Gospelettes, "Please Lord" by The Messiahs Of Glory, "Crying Pity & A Shame" by Salem Travelers, "It's So Good To Be Alive" by The William Singers, "Troubles" by Estella Burke, "The Whole World Is Watching" by Charlie Brown, "Same Old Bag" by Stevie Hawkins, and "Bless Me" by The Inspirational Singers.  © 1996-2018, Dusty Groove, Inc."

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Bless The People Everywhere - Gospel Funk of Peacock & Songbird

"The famous Duke/Peacock label was one of the most important forces in gospel music during the 50s and early 60s – home to some of the hippest, most soul-drenched acts – especially the male vocal groups that were helping transform the genre, and pave the way for lots of soul artists to come! Yet by the time of these sides, Peacock was also picking up a lot of influence back from soul music too – using funky currents to help sell a spiritual message – all at a level that never got in the way of the vocals at all, and in face only seemed to inspire the singers with a more righteous sound overall! Once the label merged with ABC Records in the early 70s, things got even cooler and groovier – but even on the cuts before those numbers, there's a funky soul vibe that resonates throughout this collection – and makes the whole thing one of the most badass gospel sets we've ever stocked. Titles include "Where Could I Go" by Pilgrim Outlets, "Try Again" by The Loving Sisters, "Generation Gap" by Paul Owens & The Capital City Star Singers, "Something For Nothing" by Carl Bean & Universal Love, "This Is Not The First Time I've Been Last" by Inez Andrews, "Voo Doo Ism" by Spirit Of Memphis, "Bless The People Everywhere" by Liz Dargan & The Gospelettes, "What's Wrong With People Today" by The Sensational Williams Brothers, "Games People Play" by The Salem Travelers, "Living A Saved Life Now" by Josh Albert Hailey, and "Crying Won't Help" by Pilgrim Jubilees.  © 1996-2018, Dusty Groove, Inc."

Mardi Gras Krewe

I'm thinkin' that I have found my Mardi Gras Krewe. I'm guessing that I...unh...qualify!

Ray Charles - A Message From The People (1972)

'A Message From the People, Ray Charles' 1972 classic, is finally available after being long out of print. As part of Concord Music Group's reissue series, the album has been digitally remastered and the results are fantastic. This is a very special album in the Charles discography, with each of the ten songs carefully chosen by the artist to express his feelings about the state of society. Never heavy-handed, the album's focus is squarely on social consciousness. Many of the sentiments expressed in these songs ring very true in these economically-challenged times.

Charles' vocals throughout are among his most passionate ever committed to tape. His frustration is palpable in "Hey Mister," a funky work-out with lyrics imploring politicians to bring aid to the needy and poor. There is jubilation in his reading of what is often referred to as The Black National Anthem, "Lift Every Voice and Sing." Speaking of anthems, over the years there have been occasional attempts at replacing "The Star Spangled Banner" with "America the Beautiful." That's unlikely to ever happen, but Charles' version (which closes the album) can arguably be considered the definitive reading of that classic patriotic song.' (Internet Source)

I orginally posted this in the comments of KC's first posting of 'Ray Charles - Doing HIS Thing'  below, where I said =   Here is Ray Charles - A Message from the People (1972 Reissue 2009) ... It's mainstream corny and over done...but any song by Brother Ray is worth a listen ...perhaps the greatest African-American voice ever...And the most influential and exciting Black artist...in my time.
There was also a request from 'rntcj' for a re-up so I thought I'd post it upfront. - Gus

Ray Charles - Doing HIS Thing

Do you like Ray Charles? (If not what the hell are you doing here?) Well unless you got this here more than 2 years ago, then you do not have THIS Ray Charles album, I can pretty much guarantee.

For some reason the Tangerine ABC recordings of Ray Charles have languished in obscurity due to lack of reissues for the entire digital age. Some of the other early ABC era stuff can be found, but the Tangerine albums have never been re-issued. Somehow I think Rhino or Bear Family will do a box someday soon, but until then we will have to be content with my digital transfer and restoration of this LP gem, kindly provided by our favorite Unky Cliff.

Unlike the majority of ABC material that I have heard, this is not over produced and dripping syrup, but is much more a continuation of the Atlantic years. The album is painfully short, but All Killa, No Filla!

George Jackson - The Fame Recordings Vol. 1-3

A repost by request:

George Henry Jackson (March 12, 1945 – April 14, 2013) was an American rhythm & blues, rock and soul songwriter and singer. His prominence was as a prolific and skilled songwriter; he wrote or co-wrote many hit songs for other musicians, including "One Bad Apple", "Old Time Rock and Roll" and "The Only Way Is Up". As a southern soul singer he recorded a mere 15 singles between 1963 and 1985, with some success.

Jackson was born in Indianola, Mississippi, and moved with his family to Greenville at the age of five.  He started writing songs while in his teens, and in 1963 introduced himself to Ike Turner. Turner took him to Cosimo Matassa's studios in New Orleans to record "Nobody Wants to Cha Cha With Me" for his Prann label, but it was not successful. Jackson then traveled to Memphis to promote his songs, but was rejected by Stax before helping to form vocal group The Ovations with Louis Williams at Goldwax Records. Jackson wrote and sang on their 1965 hit "It's Wonderful To Be In Love", which reached no.61 on the Billboard Hot 100 and no.22 on the R&B chart. He also wrote for other artists at Goldwax, including Spencer Wiggins and James Carr, and recorded with Dan Greer as the duo George and Greer. After the Ovations split up in 1968, he recorded briefly for Hi Records, and also for Decca using the pseudonym Bart Jackson. As a singer, he had a versatile tenor that was influenced by Sam Cooke, and released many records over the years, for a host of different labels, but his recordings never made him a star.

At the suggestion of record producer Billy Sherrill, Jackson moved to Rick Hall's FAME Studios at Muscle Shoals in the late 1960s, Alabama, where he wrote for leading singers including Clarence Carter - whose "Too Weak To Fight" reached no.13 on the pop chart and no.3 on the R&B chart in 1968 - Wilson Pickett, and Candi Staton. Some of Jackson's songs for Staton, including her first hit in 1969, "I'd Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool)", are "widely regarded as examples of some of the finest southern soul ever recorded by a female artist, with lyrics that were full of meaning and innuendo, a hallmark of Jackson’s best work." Jackson also recorded for Fame Records, and had his first chart success as a singer in 1970 with "That's How Much You Mean To Me", which reached no. 48 on the R&B chart. The Osmonds visited the FAME studio in 1970, and heard and liked Jackson's song "One Bad Apple", which he had originally written with The Jackson 5 in mind. The Osmonds recorded the song, and it became the group's first hit, rising to the top of the Hot 100 in February 1971; it also reached no.6 on the R&B chart.

In 1972 he briefly rejoined the Hi label, and had his second and last solo recording success with "Aretha, Sing One For Me", an answer song to Aretha Franklin's "Don't Play That Song"; Jackson's song reached no.38 on the R&B chart. He then released several singles for MGM Records, while continuing to write for other artists. In the early 1970s he began working as a songwriter for the Muscle Shoals Sound Studio and, with Thomas Jones III, wrote "Old Time Rock and Roll" which Bob Seger recorded in 1978; Seger's version reached no.28 on the pop chart. While with Muscle Shoals Sound, he also wrote "Down Home Blues", recorded by Z. Z. Hill, which became a theme tune for Malaco Records in the 1980s; "Unlock Your Mind", recorded by the Staple Singers and a no.16 R&B hit in 1978; and "The Only Way Is Up", originally recorded by Otis Clay in 1980. A version of "The Only Way Is Up" by Yazz & The Plastic Population reached no.1 on the UK singles chart, and no.2 on the Billboard dance chart, in 1988.

In 1983, Jackson formed his own publishing company, Happy Hooker Music, before joining Malaco Records as a staff songwriter. There he wrote hits for Johnnie Taylor, Bobby Bland, Latimore, Denise LaSalle, and Z.Z. Hill. He recorded an album of his own songs, Heart To Heart Collect, in 1991 for Hep' Me Records. In 2011, a compilation CD of his FAME recordings, Don't Count Me Out, was released.

Jackson died on April 14, 2013, at his home in Ridgeland, Mississippi, from cancer at the age of 68. He left a son and two grandchildren.

Otis Clay & Johnny Rawls - Soul Brothers

"Given their styles and similar backgrounds, one might assume that Clay and Rawls might have been friends from ages past. As it goes, nothing could be further from the truth. While they travelled in the same circles for some 40 years or so, it was only about 10 years ago that they really got to know each other. Hot on the heels of Johnny Rawls’ recent tribute to O.V. Wright, “Remembering O.V.” on which Clay contributed in honoring the soul icon and Johnny Rawls mentor and friend. That album met with rave reviews and helped to form a bond between the two giants of soul and blues who had so very much in common. Soul Brothers, their latest collaboration features primarily original tunes contributed by the band as a whole with some classic covers, familiar to most of us, thrown in for good measure. The result is a delightful album which blends blues, classic soul, and gospel for what should certainly be yet another award winning album for the duo that shows us that old school soul still has great appeal and that you can teach a couple old dogs new tricks. Soul Brothers is one or those albums with a timeless sound and feel that will appeal to music fans across the board, whether their preference is blues, soul, gospel or just good music whenever and wherever they find it. Soul Brothers certainly fills the bill. This is a beautiful collaboration that this old man hopes will result in further collaborations between the two giants of soul. Between the obvious vocal talents of the two men who could easily have been brothers separated at birth there is a band that is tight, well schooled in the genre and love what they do so well…the Rays. The band consists of Richey Puga on drums, Bob Trenchard on bass, Johnny McGhee on guitar, Dan Ferguson on keyboards, Andy Roman on sax, Mike Middleton on trumpet, Robert Claiborne on trombone, nick Flood on sax and the Iveys- Arlen, Jessica and Jillian on background vocals. Also adding his talents to the effort was percussionist, Jon Olazabal. What might well be considered the ultimate band fronted by two of the best vocalists in the business make for an album that you will most assuredly want to add to your collection. This is as good as it gets." September 2014 – by Bill Wilson

Chick Willis - From The Heart And Soul

"Cousin to the late blues ballad singer Chuck Willis, Robert "Chick" Willis is primarily beloved for his ribald, dozens-based rocker "Stoop Down Baby." The guitarist cut his original version in 1972 for tiny La Val Records of Kalamazoo, MI, selling a ton of 45s for the jukebox market only (the tune's lyrics were way too raunchy for airplay).

Willis left the military in 1954, hiring on as valet and chauffeur to cousin Chuck, then riding high with his many R&B hits for OKeh Records. At that point, Chick's primary role on the show was as a singer (he made his own vinyl debut in 1956 with a single, "You're Mine," for Lee Rupe's Ebb Records after winning a talent contest at Atlanta's Magnolia Ballroom), but he picked up the guitar while on the road with his cousin (Chick cites Guitar Slim as his main man in that department).

When Chuck died of stomach problems in 1958, Willis soldiered on, pausing in Chicago to work as a sideman with slide guitar great Elmore James. A few obscure 45s ("Twistin' in the Hospital Ward," cut for Alto in 1962, sounds promising) preceded the advent of "Stoop Down Baby," which Willis has freshened up for countless sequels ever since (he developed the song by teasing passersby with his ribald rhymes while working in a carnival variety show).

Risqué material remained a staple of Willis's output in recent years. He cut several albums for Ichiban, notably 1988's Now!, Footprints in My Bed in 1990, and Back to the Blues in 1991." Bill Dahl

William D. Smith - A Good Feelin'

This is an mp3 dl of my 24/48 lp rip.

"An overlooked chapter in the mainstream rise of New Orleans soul in the 70s – and a great little set arranged and produced by Allen Toussaint during his years on Warner Brothers! The album's got a similar feel to Toussaint's own albums for Warner, although perhaps a bit mellower and more personal overall – with a style that shifts between some sweet mid-tempo funky numbers and even better ballads and love songs – all sung by Smith with a sweetly crackling voice that we really like, and served up in that "New Orleans via LA" style of Toussaint's later 70s productions. Smith plays piano and sings, and the band includes Toussaint, James Booker, and Leo Nocentelli. Titles include "I'll Be Rolling (With The Punches)", "Take Your Pick", "We Flew Away", "Fooled Ya", and "What Am I To Do"."  © 1996-2015, Dusty Groove, Inc.