Chico & Buddy - Can you Dig
Tay - Ster Rec 1971 - USA
Promo Copy
Rare Collector Single
Chico & Buddy - Can you Dig
Tay - Ster Rec 1971 - USA
Promo Copy
Rare Collector Single
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Added: 1 week ago
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L.A. Boppers - Is This The Best (Bop-Doo-Wah)1980 - Rare Album Collector
Band Members:
L.A. Boppers - Is This The Best (Bop-Doo-Wah)1980 - Rare Album Collector
Band Members:
Vance "Mad Dog" Tenort, Ed Luna, Stan "Be Bop" Martin, Kenny Styles, Ed Riddick, Augie Johnson, Gerry Davis, Robert Griffin, Kenny Davis, Michael Stanton
Genre: R & B
Augie Johnson, a member of Side Effect, formed the Boppers in Los Angeles, CA, in the mid-'70s to back his stylish, knickers-wearing group who had inked with Fantasy Records. The Boppers, consisting of Robert Griffin, Kenny Davis, Ed Riddick, Ed Luna, and Vance Tenort cut their own Fantasy album entitled The Boppers in 1978. Unfortunately, neither it nor single releases "Everybody Wants to be a Star" and "Something Missing" were successful.
They switched to Mercury Records in 1980 and became the L. A. Boppers. The lineup also went through some tinkering and now consisted of Tenort (lead), Gerry Davis, Riddick, Kenny Styles, Michael Stanton, Stan Martin, with Augie Johnson (on loan from Side Effect) also contributing to their sound. The L. A. Boppers (with input from Mikki Howard) dropped on Mercury in 1980; the first single "Is This the Beat (Bop-Doo-Wah)" made the R&B Top 30 and become their most popular single ever. Subsequent releases, the jazzy "Watching Life" and "Be-Bop Dancer," failed to capture the same audience. A final Mercury album Bop Time (1981) featured an update of the Delfonic's "La, La Means I Love You."
A final album on MCA Records Make Mine Bop in 1982 spawned two poor selling singles: "Where Do the Bops Go" b/w "Well Deserved Rest," and "How Strong Love Can Be" b/w "Dog House." Disenchanted, they disbanded after MCA failure. Soul/funk/jazz fans worldwide now trumpet their unheralded album cuts including "Give Me Some" and "Funk It Out."
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Morning Noon And Night (United Artists 1977) - Rare Record
Tracks List
A1 - The thou
Morning Noon And Night (United Artists 1977) - Rare Record
Tracks List
A1 - The thought of love
A2 - Bite your granny
A3 - Feeling strong
A4 - Movin' on down the line
B1 - Time
B2 - Free
B3 - Song for you
B4 - Le joint
Morning Noon and Night were a six piece group who released one album for the United Artists subsiduary Roadshow Record label in 1977.
The group were introduced to legendary producer Michael Stokes by Sam Taylor in 1977.
The resulting album became popular, initially, for the club anthem 'Bite Your Granny', which proved highly popular in the U.K. nightclubs at the time.
The track 'Time' has become the track that many soul punters go for today
Musicians involved with the project included Eddie Willis, Rodrick 'Peanut' Chandler, Rudy Robinson and George Roundtree.
The group disappeared from the soul scene after this release.
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The San Sebastian Strings feat Rod Mc Kuen - The Tender Earth
from Box Warner 3 lp origin
The San Sebastian Strings feat Rod Mc Kuen - The Tender Earth
from Box Warner 3 lp original 1969
San Sebastian Box limited edition
Collector (rare box lp)
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Added: 2 weeks ago
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Trini Lopez recorded a series of upbeat tunes for Reprise during the mid-'60s, including a
Trini Lopez recorded a series of upbeat tunes for Reprise during the mid-'60s, including a smash rendering of the folk standard "If I Had a Hammer" in 1963. The Dallas native cut some Ritchie Valens-influenced rockers for the King label prior to his discovery by producer Don Costa. Lopez's hits capture the excitement of his live performances, and his driving renditions of "Kansas City" (1963), "Lemon Tree" (1965), and "I'm Comin' Home, Cindy" (1966) were substantial sellers. Reportedly one of Dean Martin's favorite performers, Lopez hosted his own network TV variety program and co-starred as one of The Dirty Dozen in the popular 1967 movie.
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Added: 5 months ago
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Temptations - You've Got My Soul On Fire -- GORDY PROMO COPY 1973
The Temptations Biog
Temptations - You've Got My Soul On Fire -- GORDY PROMO COPY 1973
The Temptations Biography:
Thanks to their fine-tuned choreography -- and even finer harmonies -- the Temptations became the definitive male vocal group of the 1960s; one of Motown's most elastic acts, they tackled both lush pop and politically charged funk with equal flair, and weathered a steady stream of changes in personnel and consumer tastes with rare dignity and grace. The Temptations' initial five-man lineup formed in Detroit in 1961 as a merger of two local vocal groups, the Primes and the Distants. Baritone Otis Williams, Elbridge (aka El, or Al) Bryant, and bass vocalist Melvin Franklin were longtime veterans of the Detroit music scene when they joined together in the Distants, who in 1959 recorded the single "Come On" for the local Northern label. Around the same time, the Primes, a trio comprised of tenor Eddie Kendricks, Paul Williams (no relation to Otis), and Kell Osborne, relocated to the Motor City from their native Alabama; they quickly found success locally, and their manager even put together a girl group counterpart dubbed the Primettes. (Later, three of the Primettes -- Diana Ross, Mary Wilson and Florence Ballard -- formed the Supremes).
In 1961, the Primes disbanded, but not before Otis Williams saw them perform live, where he was impressed both by Kendricks' vocal prowess and Paul Williams' choreography skills. Soon, Otis Williams, Paul Williams, Bryant, Franklin, and Kendricks joined together as the Elgins; after a name change to the Temptations, they signed to the Motown subsidiary Miracle, where they released a handful of singles over the ensuing months. Only one, the 1962 effort "Dream Come True," achieved any commercial success, however, and in 1963, Bryant either resigned or was fired after physically attacking Paul Williams. The Tempts' fortunes changed dramatically in 1964 when they recruited tenor David Ruffin to replace Bryant; after entering the studio with writer/producer Smokey Robinson, they emerged with the pop smash "The Way You Do the Things You Do," the first in a series of 37 career Top Ten hits. With Robinson again at the helm, they returned in 1965 with their signature song, "My Girl," a number one pop and R&B hit; other Top 20 hits that year included "It's Growing," "Since I Lost My Baby," "Don't Look Back," and "My Baby."
In 1966, the Tempts recorded another Robinson hit, "Get Ready," before forgoing his smooth popcraft for the harder-edged soul of producers Norman Whitfield and Brian Holland. After spotlighting Kendricks on the smash "Ain't Too Proud to Beg," the group allowed Ruffin to take control over a string of hits including "Beauty's Only Skin Deep" and "(I Know) I'm Losing You." Beginning around 1967, Whitfield assumed full production control, and their records became ever rougher and more muscular, as typified by the 1968 success "I Wish It Would Rain." After Ruffin failed to appear at a 1968 live performance, the other four Tempts fired him; he was replaced by ex-Contour Dennis Edwards, whose less polished voice adapted perfectly to the psychedelic-influenced soul period the group entered following the success of the single "Cloud Nine." As the times changed, so did the group, and as the 1960s drew to a close, the Temptations' music became overtly political; in the wake of "Cloud Nine" -- its title a thinly veiled drug allegory -- came records like "Run Away Child, Running Wild," "Psychedelic Shack," and "Ball of Confusion (That's What the World Is Today)."
After the chart-topping success of the gossamer ballad "Just My Imagination (Running Away With Me)" in 1971, Kendricks exited for a solo career. Soon, Paul Williams left the group as well; long plagued by alcoholism and other personal demons, he was eventually discovered dead from a self-inflected gunshot on August 17, 1973, at the age of 34. In their stead the remaining trio recruited tenors Damon Harris and Richard Street; after the 1971 hit "Superstar (Remember How You Got Where You Are)," they returned in 1972 with the brilliant number one single "Papa Was a Rolling Stone." While the Tempts hit the charts regularly throughout 1973 with "Masterpiece," "Let Your Hair Down," and "The Plastic Man," their success as a pop act gradually dwindled as the 1970s wore on. After Harris exited in 1975 (replaced by tenor Glenn Leonard), the group cut 1976's The Temptations Do the Temptations, their final album for Motown. With Louis Price taking over for Edwards, they signed to Atlantic, and attempted to reach the disco market with the LPs Bare Back and Hear to Tempt You.
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Added: 5 months ago
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Jerry O - There Was A Time -- White Whale Record 318 - Rare Records Collector
Jerry '
Jerry O - There Was A Time -- White Whale Record 318 - Rare Records Collector
Jerry 'Jerry-O' Murray was a master of funky dance singles, recording at least nine of them, for Boogaloo (as Tom and Jerrio with his partner Robert 'Tom' Tharp), ABC-Paramount, Shout and White Whale between 1965 and his death in the mid-70's. He was also a producer and composer, releasing discs on his own Chicago based Jerry-O records by groups like the Dukays (after Gene Chandler left to go solo). 'Afro Twist Time (Um-Gow-Wow)' is one of his best and includes his trademark shout of 'Papa Chew!!!'.
"Papa Chew Do the Boo-Ga-Loo" was the howling and knowing signature to a serious soul groove from Jerry "Jerry-O" Murray. A Jerry-O 45 almost always involved Murray's slick slang hanging all over an upbeat backing track designed to capitalize on th latest dance craze. Born October 1939 in St. Louis, MO, Murray was a disc jockey and promoter in Chicago through the late 1950s before moving to Detroit-town -- where everybody gets down -- in the early '60s. As part of Tom & Jerry-O, Murray first had rhythm & blues chart success with "Boo-Ga-Loo," a record based on a new step at the time, released in 1965 on ABC/Paramount. Tom was Robert "Tommy Dark" Tharp, a former member of Chicago's the Ideals. Berry Gordy successfully sued for copyright infringement, meaning the duo saw little of the money the record generated. Tom & Jerry-O recorded two follow-up singles, both of which failed to generate much interest. Murray then hooked up with Detroit "impresario" Sammy Kaplan to start Boo-Ga-Loo records in 1966. There he recorded his best work -- free-flowing, bass-heavy soul workouts punctuated with frantic horn bursts. He reached the Billboard charts again with "Karate Boo-Ga-Loo" in 1967, peaking at number 16 R&B and number 51 on the pop charts. Despite fine releases like "Soul Sister" and a wicked take on James Brown's "There Was a Time," Murray never had any significant chart action. He served as producer for Volt Records on two fine 1970 singles for St. Louis disc jockey Bernie Hayes, both of which sound very similar to Murray's own work. Fading away like a dance craze, little was heard from Murray before he died in the late '70s.
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Added: 6 months ago
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Theme from I Need Help..........
Rare Album Compilation I Dentify
Tracks List
The Fir
Theme from I Need Help..........
Rare Album Compilation I Dentify
Tracks List
The First Family Of Funk
A
1. The Dapps - There Was A Time
2. Hank Ballard - How You Gonna Get Respect (You Haven't Cut Your Process Yet)
3. The Dapps - Bringin' Up The Guitar
4. Bill Doggett - Honky Tonk Popcorn
5. Marva Whitney - I Made A Mistake (Because It's Only You)
6. J.B.O. - Use Your Mother
7. Marva Whitney - He's The One
8. Beau Dollar - Who Knows
B
1. Steve Soul - Popcorn With A Feeling
2. Hank Ballard - With Your Sweet Lovin' Self
3. Vicki Anderson - Answer To Mother Popcorn
4. J.B.O. - The Drunk
5. Bobby Byrd - Hang Up Your Hang-Ups
6. Fred Wesley & The J.B.'s - Use Me
7. A.A.B.B. - Pick Up The Pieces One By One
8. Bootsey Phelps & Complete Strangers - Fun In Your Thang Pt. 1
By mid-1960s, James Brown had developed his signature groove that emphasized the downbeat -- with heavy emphasis "on the one" (the first beat of every measure) -- to etch his distinctive sound, rather than the backbeat that was familiar to many R&B and soul musicians.[4] Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-two-three-four backbeat of traditional soul music to the one-two-three-four downbeat -- but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing. This one-three beat launched the shift in Brown's signature funk music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hit, "Papa's Got a Brand New Bag."
Brown's innovations pushed the funk music style further to the forefront with releases such as "Cold Sweat" (1967), "Mother Popcorn" (1969) and "Get Up (I Feel Like Being A) Sex Machine" (1970), discarding even the twelve bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns ... [resembling] West African polyrhythms."[5] Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.[5] Although "Papa's Got a Brand New Bag" and "Cold Sweat" were widely credited as the prototype songs that launched the funk genre, "Out of Sight" was the breakthrough hit that signaled the shift in Brown's sound to establish funk as a distinct genre.[6]
In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat ... Simple as that, really."[7] According to Maceo Parker, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.[8]
Other musical groups picked up on the riffs, rhythms, and vocal style developed by James Brown and his band, and the style began to grow. Dyke & the Blazers based in Phoenix, Arizona, released "Funky Broadway" in 1967, perhaps the first record to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band were releasing funk tracks beginning with their first album in 1967, culminating in their classic single "Express Yourself" in 1970.
The Meters defined funk in New Orleans, starting with their Top Ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who would define funk in the decade to come were The Isley Brothers, whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in African-American music, bridging the gaps of the rock of Jimi Hendrix and the upbeat soul of Sly & the Family Stone and Mother's Finest.
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Added: 7 months ago
Views: 15,148
Donato - The Frog ( Joao donato ) - BLUE THUMB RECORDS - 2C 006-92.075M
Collector Single
Donato - The Frog ( Joao donato ) - BLUE THUMB RECORDS - 2C 006-92.075M
Collector Single
Born in the State of Acre (North of Brazil), João Donato started playing the accordion when he was a child. Donato moved to Rio de Janeiro in the 40's and started performing by the beginning of the 50's. While playing with Johnny Alf at the Plaza nightclub in Rio de Janeiro, Donato became interested in jazz and bossa nova. In that same period he made friends with Tom Jobim, João Gilberto, Luiz Bonfá and others. Still in the 50's, Donato made a few albums, and in 1959, he moved to Mexico and then to the U.S., where he lived for a few years. Donato toured with João Gilberto around Europe and returned to Brazil in 1962, recording the album "Muito à Vontade". Before long he went back to the U.S., remaining for 10 more years. In the United States, Donato made solo albums and recorded with other artists. Some of his songs from that period include "Amazonas", "A Rã" and "Bananeira", which introduced an original rhythm for the piano part.
Back to Brazil in 1975, Donato released "Lugar Comum" in collaboration with Caetano Veloso and Gilberto Gil. His songs, which possess a strong instrumental nature, include lyrics written by several acclaimed artists, like "A Rã" (by João Donato and Caetano Veloso), "Amazonas" (by João Donato and Lysias Ênio), "A Paz" and "Lugar Comum" (by João Donato and Gilberto Gil), "Nasci para Bailar" (by João Donato and Paulo André Barata) and "Gaiolas Abertas" (by João Donato and Martinho da Vila).
Donato's compositions have been recorded by singers like Gal Costa ("Flor de Maracujá"), Adriana Calcanhotto ("Naquela Estação"), Angela Rô Rô ("Simples Carinho") and Nana Caymmi ("Até Quem Sabe"). Donato's skills as arranger are very much sought after. Donato has orchestrated music pieces for Fagner, Gal Gosta and Martinho da Vila.
In 1996, after a long period of oblivion, Donato recorded "Coisas Tão Simples", followed by "Café com Pão", with Eloir de Moraes (1997), "Só Danço Samba" (1999) and the three volumes of his songbook, published by Lumiar. These releases brought one of the most original songwriters back to the BPM scene. In that period, Donato performed and toured Brazil. In 2000, American label Elephant Records released the CD "Amazonas", including some of his greatest hits, like "Sambolero", "Vento no Canavial" and "Aquarius".
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