@ 1980 HK Pressing
A Seattle type of day dark skies, rain soon to come, a hot mug of coffee and this excellent Michael Johnson’s album ….
This album is one of my all-time favorites. It is not well known until you put it on at a party to mellow out the mood. Listeners will ask, “Who is this? Where did this guy go to? I remember this!”
"When You Come Home", "Sailing Without A Sail", "Ridin’ In the Sky", "25 Words or Less" are the outstanding tunes that herald this album. Sung with a passion and an understanding of the sublime lyrical content, detected by the listener.
You will find yourself looking for (and reciting along with Michael), the printed lyric sheet (included) as you listen. The songwriting and the production give this album a great beguiling “feel” that is perfect for days as this.
You Don’t Mess Around with Jim
@1973 US Pressing
You Don’t Mess Around with Jim is an album by American singer-songwriter Jim Croce, released in 1972. It spent 93 weeks on the charts, longer than any other Jim Croce album. Due to the strong performance of the posthumous single release “Time in a Bottle" (#1 pop, #1 AC), "You Don’t Mess Around with Jim" was the best selling album in the U.S. for five weeks in early 1974. It’s listed at #6 on the 1974 Cash Box yearend album charts. Two singles were originally released from the album in 1972: the title track (#8 pop) and “Operator (That’s Not the Way It Feels)” (#17 pop).
@1973 HK Pressing
1990 is a 1973 album by The Temptations for the Gordy (Motown) label, their final LP written and produced by Norman Whitfield.
The LP was the center of a number of problems. The Temptations were dissatisfied with Whitfield’s socially conscious message tracks, which were by now failing commercially, and desired to get back to singing ballads. Whitfield relented some here, placing message tracks such as “1990” and “Ain’t No Justice” alongside love songs such as “Heavenly” and “You’ve Got My Soul on Fire”.
The album’s first single, the Rose Royce-backed and Dennis Edwards-led funk track “Let Your Hair Down”, was its only Top 40 hit. The ballad “Heavenly”, sung by Richard Street and Damon Harris, was caught in the center of a disc jockey boycott against Motown. A Motown executive did not thank the United States’ DJs while accepting an award for the Temptations at the 1974 American Music Awards, and, as a result, the DJs refused to play “Heavenly”. “You’ve Got My Soul on Fire”, another Edwards-led funk track, also stalled out on the pop charts.
The Temptations remained dissatisfied with Whitfield’s “slave-driver” like production mentality and his tendency to overshadow the Temptations’ contributions to their own records by emphasizing his production techniques and creating extended instrumental tracks with only a few verses of vocals. Group leader Otis Williams complained to Motown chief Berry Gordy, who replaced Whitfield with Jeffrey Bowen for their next LP, 1975’s A Song for You. Whitfield left Motown soon afterward, and started his own label, Whitfield Records, which released several hits from Rose Royce.
Audio post with 1 note - Played 4 times
An Impressive Song. The only complaint is the vinyl should be made more sturdy to support the sound.
Photo with 1 note
Bob Marley & The Wailers
@1984 UK Pressing
Legend is the twelfth album by Bob Marley and the Wailers, and the second posthumous album, released in 1984 by Island Records, catalogue BMW 1 in the United Kingdom and A1 90169 in the United States. It is a greatest hits collection of singles in its original vinyl format, and the best-selling reggae album of all-time, with over 14 million copies sold in the United States and approximately 25 million copies sold globally.
It contains all ten of Marley’s Top 40 hit singles in the UK up to the time, plus three songs from the original Wailers with Peter Toshand Bunny Livingston in “Stir It Up,” “I Shot the Sheriff,” and “Get Up, Stand Up,” along with the closing song from the album Uprising, “Redemption Song.” Marley enjoyed fewer chart hits in the United States, “Exodus,” “Waiting in Vain,” “Could You Be Loved” and “Buffalo Soldier” the only ones included on this collection. Of the original tracks, only four date from prior to the Exodus album.
The cassette tape release of the album featured two extra songs, “Punky Reggae Party,” the b-side to the “Jamming” single, and “Easy Skanking” from the Kaya album. A second generation compact disc remastered by Barry Diament appeared in 1990 on the Tuff Gong label. Although the disc includes the same 14 songs, the tracks are in their original album lengths rather than the edited versions for single release.
Photo with 1 note
Now Appearing at Ole Miss
@1981 US Pressing
This concert was a GREAT performance by B.B. to a wildly appreciative audience. I know, I was there. BUT when I first got the album, I was SO disappointed. The quality of the live recording is disappointing enough, but the instrumentation added in the studio (strings, percussion, etc.) completely undermines the feeling of the music. It’s painful for me to listen to this album, knowing how good it COULD have sounded. Buy Live at the Regal and Live in Cook County Jail instead.
someone who’s been there
Live at the Regal
@ 80s Reissue, UK Pressing
Live at the Regal is a 1965 live album by blues guitarist and singer B.B. King. It was recorded on November 21, 1964 at the Regal Theater in Chicago. The album is widely heralded as one of the greatest blues albums ever recorded and is #141 on Rolling Stone Magazine’s 500 Greatest Albums of All Time. Despite its critical appreciation, B. B. King does not consider it among his best recordings. In 2005, Live at the Regal was selected for permanent preservation in the National Recording Registry at the Library of Congress in the United States.
Some musicians, including Eric Clapton, John Mayer, and Mark Knopfler, have acknowledged using this album as a primer before performances.
Photo with 2 notes
Who’s Making Love
@1968 US Pressing
The song “Who’s Making Love?” was among Johnnie Taylor's biggest chart hits, with Taylor's tough but impassioned vocal supported by a potently energetic performance by the usual Stax Records crew (including Steve Cropper, Donald “Duck” Dunn, and the Memphis Horns. But Who’s Making Love, the album assembled to accompany the single, is for the most part dominated by more measured and blues-based material. While “Take Care of Your Homework” generates a potent groove (and reads like a sequel to “Who’s Making Love”), and “Hold on This Time” is a remarkably successful emulation of the Motown production style, for the most part, Who’s Making Love suggests Taylor was most comfortable with slow, sorrowful laments such as “Can’t Trust Your Neighbor” and “Poor Make Believer,” and while these tunes lack the dancefloor drive of Taylor's uptempo hits, no one can deny he knows how to make the most of the dramatic sweep of a tale of love gone wrong, and his tales of lovers gone astray (and paying the price) carry a weight not unlike that of his earlier gospel period. Who’s Making Love captures some of the high points of Taylor's career as a Southern soul man, and finds him nodding to his past and well as his future in his search for inspiration.
Save The Children Soundtrack
@1973 US Pressing
"Save the Children," the movie spinoff (and theme) of last year’s Black Exposition conducted by Operation PUSH
(People to Save Humanity) in Chicago’s Amphitheater, has the virtues of being forthright,
unabashedly emotional and entertaining. And, if two hours of more than 30 black artists doing their musical things
occasionally seem repetitive, the heart and craft of the performers
(and speakers, including the Rev. Jesse Jackson, head of PUSH) project enough soul and meaning to captivate viewers.
The name “acts,” who contributed their services to “Save the Children,” now at the Criterion, Beekman and Apollo Theaters,
constitute enough talent to fill a month of Sundays on the stage of Harlem’s Apollo Theater.
And they neatly complement the intercut arts, crafts and commerce displayed at the Exposition as well
as the footage of Chicago’s blacks, their churches, schools, slums and playgrounds.
"Save The Children" double live album contains great live recordings from fabulous names like Marvin Gaye,
the Staple Singers, the Temptations, the Chi Lites, the Main Ingredient, the O’Jays, Isaac Hayes, Zulema,
the Rev. Jesse Jackson, the Cannonball Adderly Quintet, the Push Mass Choir, Albertina Walker,
Loretta Oliver, the Rev. James Cleveland, Bill Withers, Curtis Mayfield, Sammy Davis Jr., Roberta Flack,
Quincy Jones, Gladys Knight and the Pips, Jerry Butler, Brenda Lee Eager, the Ramsey Lewis Trio,
Nancy Wilson, the Jackson Five, Jackie Verdell and Dick Gregory.
Everything based of course on the documentary “Save The Children” which chronicles all the above artists
that appeared during Jesse Jackon’s Operation PUSH exposition held in 1972 in Chicago.
Since I don’t know too much about the “Save The Children” documentary, I can’t give you any more information
about it to be honest, but the most important thing of course, as always, is the music.
The one thing I thought was interesting though, is that bits and pieces of Rev. Jesse Jackson’s speeches
on this gem are also to be found on the WattStax albums from the same period.
Photo with 1 note
Gentle On My Mind
@1967 US 1st Pressing
The centerpiece of the album is “Gentle on My Mind”. Campbell heard songwriter John Hartford’s original version on the radio and fell in love with this song about memories of a lost love. At the time, Campbell was under contract with Capitol Records as a solo artist but had little success in establishing a name for himself in the public eye. Campbell gathered some of his fellow session players from the famous “Wrecking Crew” gang (which included Leon Russell) to come into the Capitol studio to record a demo version that he could pitch to his producer. Between phrases and stanzas, Campbell would yell instructions to the players. He then left the rough recording for his producer to listen to. His producer fell in love, not only with the song, but with the recording itself. Without telling Campbell, he took the tape back into the studio and removed the unwanted verbiage from between the phrases. He then released the demo recording, which became a mega-hit for Campbell when it was released. Hartford’s inspiration for the song came from watching the film Dr. Zhivago. He would later remember, “I know watching the movie gave me a feeling that caused me to start writing, but as far as saying it came from that, I don’t know. It just came from experience. While I was writing it, if I had any idea that it was going to be a hit, it probably would have come out differently and it wouldn’t have been a hit. The song came real fast, in about 15 minutes. It was a blaze, a blur.”
Photo with 1 note
The Shades of Deep Purple
@1968 SIngapore Pressing
Rehearsing began in February, after Nick Simper, Jon Lord, Ritchie Blackmore and Ian Paice (as yet without an appropriate drum kit) had hired Rod Evans to sing after some auditions. Their first rehearsals (Paice having now acquired his favoured drum kit) involved mostly jamming and some occasional glimpses with the instrumentals “And The Address” and “Mandrake Root”, which Blackmore had written earlier that year. (Mandrake Root was also the name of an earlier band that Blackmore had been trying to form in Germany when the call came from Deep Purple’s management.)
Their previous test-singer, Chris Curtis had been wanting to add a cover of a Beatles song to an eventual album and therefore the first proper song that was set in motion turned out to be ”Help!”. “Mandrake Root” was given lyrics, so the album would feature only oneinstrumental. Then, with those three well inducted, the band started to think on “I’m So Glad”, a song by Skip James, which had earlier been covered by Cream. Ian Paice and Rod Evans had also recorded the song earlier, with their band The Maze.
It was to be proven typical with Deep Purple in these early years that all the cover songs recorded were considerably longer and more grandiose than the originals. “I’m So Glad” was certainly no exception. When the track was recorded, the first movement ofScheherazade was added before the actual song began.
The next song added to the rehearsals was “Hey Joe”, a song originally, but disputably, written by Billy Roberts and mistakenly credited to “Deep Purple” on original releases of the Shades album. The Jimi Hendrix Experience had recorded a version of this song in late 1966 and this was used as the main inspiration. But as well as “I’m So Glad”, the song was heavily blown up and stretched in length. Joe South had written a song for Billy Joe Royal the previous year, called “Hush” and this song was also picked up by the band.
medicine ball caravan soundtrack
@1971 US Pressing
Original pressings of WARNER’s 1971 movie soundtrack of MEDICINE BALL CARAVAN (BS 2565) are on their sage green label.
Never liked MBC much 4 decades ago, but on a relisten I have to admit this was an interesting record album. Highlights are a few extended tracks that have an improvisational quality. Young Alice Cooper is a total trip, B.B. King leads the audience in some blues and Doug Kershaw invites everyone to visit his bayou home. It’s a celebration of togetherness in a time of strife, peace in a time of war and music when the Establishment was singing the same old song.
Absent from the mix are David Peel & the Lower East Side, the über freaky NYC band (and ELEKTRA recording artists) who created such classics as “Up Against the Wall, M.F.” and “I Want to Kill You.” No big loss, really.
[2:04] Act Naturally - The Youngbloods
[10:01] MEDLEY: How Blue Can You Get / Just a Little Love - B.B. King
[5:55] MEDLEY: Louisiana Man / Battle of New Orleans / Orange Blossom Special - Doug Kershaw
[2:04] Hippie from Olema - The Youngbloods
[3:02] Dreambo - Sal Valentino
[7:55] Black Juju - Alice Cooper
[11:45] Freakout / It Takes a Lot to Laugh, It Takes a Train to Cry - Stoneground
[3:20] Free the People - Delaney and Bonnie
TOTAL TIME: 46:06
Arild Anderson Quartet
Green Shading Into Blue
@ 1979 Germany Pressing
The final album of this set changes gears yet again, working itself into a highly refined configuration. Jansson expands his contributions with added electronics. Their presence, subtle as it is, unpacks the music’s histories with far greater visibility. From the laid-back groove of “Sole” to the staccato backing of “Radka’s Samba,” we are treated to a colorful array of songs without words. Stories are the primary driving forces here, such that “The Guitarist” is not about the instrument but about the trembling hands that cradle it. Like an intro that never materializes into a full-blown swing, it has more than enough to sustain itself. “Anima” is another smooth joint that offers some of Andersen’s most understated brilliance. Aaltonen’s legato tenor lends an illusory impermanence. The album’s remainder is like a garden of quiet beauty. The cultivated panache of the sax-heavy “Terhi” and the “organic” backing of the title track wander into Eberhard Weber territory with every step. “Jana” closes in all the lushness this quartet has to offer in a synth-infused groove, finishing with the exuberance of Aaltonen’s soprano flourishes.
@1977 Germany Pressing
In its second outing, the Arild Andersen Quartet saw the replacement of Balke and Rissnæs with saxophonist Juhani Aaltonen (already heard to mind-blowing effect on Edward Vesala’s Nan Madol and soon to appear on Satu of the same) and pianist Lars Jansson (whose trio, of which Anders Jormin was an original member, remains one of Sweden’s great jazz outfits). Here, Andersen dons more overtly compositional clothing, and lays his heart bare. The mood is a little more relaxed, its sound more porous, its gestures more internal. Starting with some chromatic pianism and Aaltonen’s winged soprano in the title track, and working through the timeless beauties of “No Tears” and “Ways Of Days,” we encounter deeper mysteries in “Wood Song.” On the surface, its wooden flute and colorful percussion evoke an arid landscape populated by rattlesnakes and desert winds, yet on deeper inspection seeks to reveal the improvisational in the mundane. “Vaggvisa För Hanna” is a multifaceted little number that plays like Red Lantawith an added rhythm section. Tenor sax makes its triumphant return in “Dedication.” Jansson wanders into some incredibly lyrical asides, singing like Keith Jarrett (who was among his formative influences as a music student), but led back to the main path by Aaltonen every time. While it is unclear who or what this concluding track is a dedication to, I like to think it was made for the listener, whose very existence animates the creative process at hand. For as Andersen recedes, leaving Aaltonen alone, we are drawn into that final gasp of cymbals and toms like an acolyte into selflessness.
Page 1 of 86