tag:blogger.com,1999:blog-8440661500030598722024-02-19T08:28:11.287-08:00Soulful DivasR&B, Jazz, Folk and Pop Female SingersSinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.comBlogger89125tag:blogger.com,1999:blog-844066150003059872.post-51014949355194831372010-03-18T04:18:00.001-07:002010-03-18T04:19:06.088-07:00Lorraine Ellison: Sister Love - The Warner Bros. Recordings (1966-1972) ... plus<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtG-6Yl3ifzuwb1g-l927JC_jmMWSRmC6Pk8lj-ckZXVsPlymBRLYT4GxgGA26TvUCH6PsBnWbLdkP4taJFyW5r3ELW_iJHL2xf2nu2W9UFtz-rXg0ot5iS_rKOhszS2VJSchNFXjbpM/s1600-h/940318.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtG-6Yl3ifzuwb1g-l927JC_jmMWSRmC6Pk8lj-ckZXVsPlymBRLYT4GxgGA26TvUCH6PsBnWbLdkP4taJFyW5r3ELW_iJHL2xf2nu2W9UFtz-rXg0ot5iS_rKOhszS2VJSchNFXjbpM/s200/940318.jpg" alt="" id="BLOGGER_PHOTO_ID_5449647828998410706" border="0" /></a>Lorraine Ellison is almost a perfect cult soul singer: she was blessed with a unique, powerful voice, she had two stone-cold classics to her name -1966's <a style="color: rgb(51, 51, 255);" href="http://www.youtube.com/watch?v=OBJ1rv39Pws">'Stay with Me'</a> and <a style="color: rgb(51, 51, 255);" href="http://www.goear.com/listen/a92e5a1/try-%28just-a-little-bit-harder%29-lorraine-ellison">'Try (Just a Little Bit Harder),'</a> which was later popularized by Janis Joplin - which is enough success to get her remembered by aficionados but not enough to make her a star. It's also enough to suggest that Ellison deserved to be a star, that she had the talent and the material that deserved a wider audience, but like a lot of artists with a cult following, she's a great talent that may be an acquired taste for most listeners. This exhaustive three-disc set, which was originally released in a limited run of 5000 copies, certainly suggests as much. For Ellison devotees, this is pretty much the Holy Grail, since it represents the first time all of her prime material has been released on CD. It has her first three LPs - the 1966 debut Introducing Miss Lorraine Ellison b/w Heart & Soul and 1969's Stay with Me, both produced by Jerry Ragovoy, and the Ted Templeton-produced 1974 album Lorraine Ellison - plus various singles and sessions from the early '70s, a bunch of rarities and a <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTKNP9NqBbVEP50HVld4JclLGGXlA5_ydPlb6_U67a7nX6cF1OcW7jg1VFtH8jyecFG2WDunV0gK6zX2QlIZ2hJ99Px_RpkvMGc6B3BdzqBEBe0Lw8I9pho7KiWBcmQXXN3sKbXx4LKw/s1600-h/Dibujo.JPG"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTKNP9NqBbVEP50HVld4JclLGGXlA5_ydPlb6_U67a7nX6cF1OcW7jg1VFtH8jyecFG2WDunV0gK6zX2QlIZ2hJ99Px_RpkvMGc6B3BdzqBEBe0Lw8I9pho7KiWBcmQXXN3sKbXx4LKw/s200/Dibujo.JPG" alt="" id="BLOGGER_PHOTO_ID_5449664998001347122" border="0" /></a>whole disc of unreleased demos from 1972. This certainly fills the need that devoted Ellison fans have and in some ways exceeds their expectations, since it contains some wonderful rarities, just like the slow-burning <a style="color: rgb(51, 51, 255);" href="http://www.goear.com/listen/01255b6/Haven%5Ct-I-Been-Good-to-You-Lorraine-Ellison">'Haven't I Been Good to You,'</a> recorded in 1967; the loose, funky, gospel-inflected 'Woman, Loose My Man' from 1970; the Al Kooper written and produced 'Let Me Love You,' a 1970 session which is paired with 'Doin' Me Dirty,' taken from the same sessions and originally released on the <a style="color: rgb(51, 51, 255);" href="http://supersoulsisters.blogspot.com/2009/09/lorraine-ellison-stay-with-me-best-of.html">Ichiban compilation</a> I have already posted in my other blog; 'Dear John,' recorded at Muscle Shoals in 1970; a version of Carole King's 'You've Got a Friend' from 1971; and three outtakes from the Templeton album, 'When You Count the Ones You Love,' 'Sister Love,' 'Sweet Years' . It also includes the rarities that showed up on previous comps, the disc of stark piano-and-voice demos and three songs I added as <span style="font-weight: bold;">bonus tracks</span> at the end of disc 1: both sides of the 1966 single 'I Dig You Baby' b/w <a style="color: rgb(51, 51, 255);" call="" me="" anytime="" you="" need="" some="" lovin="" href="http://www.youtube.com/watch?v=-0PS2bU289c&feature=related">'Don't Let It Go to Your Head'</a> & the Northern Soul stomper <a style="color: rgb(51, 51, 255);" href="http://www.youtube.com/watch?v=9vQq95OeK34&feature=related">'Call Me (Anytime You Need Some Lovin')'</a>. Certainly Sister Love not only will satisfy Ellison's cult, but will also convert some of the curious, since it does illustrate that she was an artist with a broad range and specific gifts as a writer and a singer. http://www.allmusic.com/<br /></div><span style="color: rgb(255, 255, 255);">aa</span><br /><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=f2e930f" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><span style="color: rgb(255, 255, 255);">aa</span><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/Fvalb0NggSs&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Fvalb0NggSs&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com18tag:blogger.com,1999:blog-844066150003059872.post-83154910849951347242010-03-15T02:57:00.000-07:002010-03-15T11:55:09.737-07:00Lurlean Hunter: Night Life (1956) / Stepping Out (1958)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vShoSpBvwGWkNDjziTNmDE4qo6cCrrzp36_X-JYpl-BNPw_EXPcJK93__0x5hfYEE6cIgoSPhlG4Dc6plnvm1wmWv9Dfo5mUfn75Xk9eOIyR3IxCpiOHYY5jhxAyhHFtQpQB-B87URk/s1600-h/Dibujo.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 199px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5431353022449241474" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vShoSpBvwGWkNDjziTNmDE4qo6cCrrzp36_X-JYpl-BNPw_EXPcJK93__0x5hfYEE6cIgoSPhlG4Dc6plnvm1wmWv9Dfo5mUfn75Xk9eOIyR3IxCpiOHYY5jhxAyhHFtQpQB-B87URk/s200/Dibujo.JPG" /></a>Singer Lurlean Hunter made five albums on her own during the second half of the '50s, starting out as a Lonesome Gal on RCA and winding up still feeling Blue & Sentimental for Atlantic. She was discovered in Chicago where she had been singing in many clubs, including a collaboration with drummer Red Saunders that held forth at the Club DeLisa. Hunter's move to New York City in 1955 was prompted by RCA's interest in recording her. The singer's recording career actually began before she left the Windy City at the behest of indie jazz labels, some of them quite short-lived — such as Seymour, with a catalog topping out at four releases. The press described Hunter as a "blues thrush" in announcing her interpretations of three numbers actually written by the label's owner, producer and record store owner Seymour Schwartz. The latter promotional blurb inevitably told some truth about Hunter's stylistic traits, if not her relation to winged fauna. Her recordings were more about rhythm & blues and pop than jazz, yet were done in an era when such <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkvAYSAhZVSo-LRG4baVfPi5vGC_hqGcsSjcGfL8776CLd5nhx84OLZGqzGU1tHhMaaqK7b3eDKGtxyVXe9bhq89nGfiRYuyEz8TGBI4VyWchZPkTFufLACsd5ZwO6CllUX9WL1gleK8k/s1600-h/waltonjohnyoungtrio.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5431356611055306994" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkvAYSAhZVSo-LRG4baVfPi5vGC_hqGcsSjcGfL8776CLd5nhx84OLZGqzGU1tHhMaaqK7b3eDKGtxyVXe9bhq89nGfiRYuyEz8TGBI4VyWchZPkTFufLACsd5ZwO6CllUX9WL1gleK8k/s200/waltonjohnyoungtrio.jpg" /></a>sessions often involved fine mainstream jazz players in the accompaniment. This album, Night Life (1956), for example, featured pianist Hank Jones and tenor saxophonist Al Cohn. It is actually one of the classiest records from Lurlean, much richer and more jazz-based than the sometimes-bluesy cover images she was given, a quality that sounds especially great here amidst fuller backings from Manny Albam, an arranger who really helps Hunter cross over strongly for the set. The record is beautifully done, poised, but still filled with soul and feeling, and other players on the date include Joe Newman on trumpet, and Barry Galbraith on guitar. There are great interpretations of some lesser-known numbers like 'Moondrift' and 'Night Life' - plus <a href="http://www.goear.com/listen/4f0fcd9/gentleman-friend-lurlean-hunter"><span style="color:#3333ff;">'Gentleman Friend'</span></a>, 'What a Difference a Day Makes', <a href="http://www.goear.com/listen/8358b52/have-you-met-miss-jones-lurlean-hunter"><span style="color:#3333ff;">'Have You Met Miss Jones'</span></a>, and 'Sunday'. Lurlean's mellow smooth sound can be also fully appreciated on her second release for RCA/Vik, 'Stepping Out' (1958). This album has got a nice jazzy feel <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3C8v9EMgq4DLutD8U2ADt7ZT8fHpcLwx9T93gwJcIZaIdBcwlx01dwrQQ1AzwtjWTLXkyn3o53VC6f3U2FiIItXC9vcJE3YE859wY8uNTIcABH_5R15y-lv_yOQvFUnlejohMucSmDys/s1600-h/lurlean.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 196px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5431365079554641218" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3C8v9EMgq4DLutD8U2ADt7ZT8fHpcLwx9T93gwJcIZaIdBcwlx01dwrQQ1AzwtjWTLXkyn3o53VC6f3U2FiIItXC9vcJE3YE859wY8uNTIcABH_5R15y-lv_yOQvFUnlejohMucSmDys/s200/lurlean.jpg" /></a>too (thanks mostly to an eight-piece jazz group who provide backing in four of the tracks), and despite the occasional presence of strings courtesy of Phil Moore and His Orchestra, these are neither sleepy nor intrusive and the result is really top notch overall. It includes some stunning renditions of standards like <a href="http://www.goear.com/listen/cca2735/old-devil-moon-lurlean-hunter"><span style="color:#3333ff;">'Old Devil Moon'</span></a>, 'Blues in the Night', <a href="http://www.youtube.com/watch?v=V_xfEWHjhfk"><span style="color:#3333ff;">'You Do Something to Me'</span></a> and 'Under a Blanket of Blue', amongst others.Hunter's final recordings were done in 1964, at which point she was still well under 40 years old. She is known to have died young, although details of this tragedy are murky. In one version of the story she was knocked off by a mobster lover, yet whether anybody was really that mean to Lurlean cannot be completely confirmed. http://www.allmusic.com/</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=da0b3fd" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div><div align="justify"><embed height="344" type="application/x-shockwave-flash" width="425" src="http://www.youtube.com/v/pUEAMAp7wdA&hl=" fs="1&" allowscriptaccess="always" allowfullscreen="true"></embed></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com4tag:blogger.com,1999:blog-844066150003059872.post-48171874118554908092010-02-25T02:45:00.000-08:002010-02-25T02:51:03.902-08:00Lynne Randell: Dynamic Lynne Randell - Ciao Baby (1965-1967)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEzorqrQ0hD5KaOY-6-sDw1t_t0GJFGP8h8PdD262XjmKSQwgwFB0G3qS9Tz4YHOJ1GhfevOmFsWD_xUzPoVDH8HC0lTUABqtVA05aEhyphenhyphenWrD-Og7hJ7bnCxqCWf_ctB0HFtC_yxPWwA8/s1600-h/fRONT.jpg"><img id="BLOGGER_PHOTO_ID_5431704877410207042" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 198px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEzorqrQ0hD5KaOY-6-sDw1t_t0GJFGP8h8PdD262XjmKSQwgwFB0G3qS9Tz4YHOJ1GhfevOmFsWD_xUzPoVDH8HC0lTUABqtVA05aEhyphenhyphenWrD-Og7hJ7bnCxqCWf_ctB0HFtC_yxPWwA8/s200/fRONT.jpg" border="0" /></a>During the mid-'60s, singer Lynne Randell reigned as Australia's first teen pop star. Dubbed "Little Miss Mod" for her trendy fashions and hair, her brief stay in the limelight was derailed by a lifelong addiction to diet pills. Born in Liverpool in 1950, Randell was five years old when her family emigrated to Murrumbeena, Australia. By 14, she was apprenticing in a local styling salon, and was often called upon to sing while on the job. In time client Carol West, who managed a number of Melbourne-area bands (most notably the Spinning Wheels), hired Randell to sing at a party. Radio personality Stan Rofe was sufficiently impressed to request a demo, and the resulting recording was enough to earn a contract<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf9EuGdHWT12xhiTRhsxxDZev3bEbNJOmZwMO3sdbj_JoxnU05UIN4ENM_k-x12gXnZqXy8XFXgD7RvBKHIZJHJtNv8fUHL0fA28_jL5MXMHwUHxr7MMcScGxb-HBD606lUWIgC-tDVb8/s1600-h/Dibujo.JPG"><img id="BLOGGER_PHOTO_ID_5431706549127917922" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf9EuGdHWT12xhiTRhsxxDZev3bEbNJOmZwMO3sdbj_JoxnU05UIN4ENM_k-x12gXnZqXy8XFXgD7RvBKHIZJHJtNv8fUHL0fA28_jL5MXMHwUHxr7MMcScGxb-HBD606lUWIgC-tDVb8/s200/Dibujo.JPG" border="0" /></a> with EMI. Randell issued her debut single, <a href="http://www.youtube.com/watch?v=M9ZhW6qgUmk"><span style="color:#3333ff;">'I'll Come Runnin</span></a><a href="http://www.youtube.com/watch?v=M9ZhW6qgUmk"><span style="color:#3333ff;">g Over,'</span></a> in early 1965, soon after becoming a regular on the Australian television pop showcase The Go!! Show. The singles <a href="http://www.goear.com/listen/99165f4/a-love-like-you-lynne-randell"><span style="color:#3333ff;">'A Love Like You'</span></a> and 'Be Sure' followed, and in early 1966 Randell signed to<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlVNTAHvJvd_acXyEZQ_WsmTKhGJCmdA7QsStG1_mmRimLkzDd-2xbkufA5eOoKX_fLTGf4nTior2X5MUrMxKwOQ10kxn6gx7Zoy_cctU759TYf7mDfCAUuQeeEFKW6lWXtccuQwzNsAE/s1600-h/o411471.jpg"></a> CBS Records to issue <a href="http://www.goear.com/listen/3b72653/thats-what-love-is-made-of-lynne-randell"><span style="color:#3333ff;">'That's What Love Is Made Of.'</span></a> During the singer's CBS tenure, her music adopted a Motown-inspired ebullience that would later make singles like 'Going Out of My Head' and flip side 'Take the Bitter with the Sweet' a favorite on Britiain's Northern soul club circuit. At home, 1967's <a href="http://www.youtube.com/watch?v=a7_5zmRf4Ak"><span style="color:#3333ff;">'Ciao Baby'</span></a> vaulted Randell to national superstardom, and she spent the summer on tour with the Monkees, sharing bills with the Jimi Hendrix Experience, the Who, and the Ike & Tina Turner Revue. However, the demands of life on <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5op1PFfBqRKJcjbxZeinIHgbhItnJH8RfP1ivn_EGgibYofzN9M5t1TPedZse7K_4ig8TDRHlv67eyflsl228sGqJAcnvTj7Q6KPJYyvgds292ajb2aWTASvJbkrFLqMNrqT03ATzTo/s1600-h/go-set-1966-04-13.jpg"><img id="BLOGGER_PHOTO_ID_5431446058077680898" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5op1PFfBqRKJcjbxZeinIHgbhItnJH8RfP1ivn_EGgibYofzN9M5t1TPedZse7K_4ig8TDRHlv67eyflsl228sGqJAcnvTj7Q6KPJYyvgds292ajb2aWTASvJbkrFLqMNrqT03ATzTo/s200/go-set-1966-04-13.jpg" border="0" /></a>the road played havoc with Randell's health, and prior to a television appearance, manager West criticized her weight. In response, she secured some diet pills from a friend, beginning a struggle with methamphetamine abuse that spanned decades. After scoring a minor Australian hit with <a href="http://www.goear.com/listen/8b90701/thats-a-hoedown-lynne-randell"><span style="color:#3333ff;">'That's a Hoedown,'</span></a> Randell relocated to Los Angeles in 1969, issuing the Capitol single 'I Love My Dog' before retiring from performing, marrying Atlantic Records executive Abe Hoch and writing for the Aussie music magazine Go-Set. With Hoch she moved to London in 1976, but her addiction spiraled further out of control and the marriage ultimately dissolved. In 1980, Randell returned to Melbourne, spending six years as the personal<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji6823HI_nHV9xlsZYcrylCINGaehsrquyfNuQCClzmMwwddAGBW8q-DYqGsQtbNn-JPpcQgeVPHXfbBx89JUQy04S7a0xDOprTA24MELs1z5gSNx-d2_fmFxnQol4C6G7e87FoJ32JTI/s1600-h/o411471.jpg"><img id="BLOGGER_PHOTO_ID_5431466486275541234" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 199px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji6823HI_nHV9xlsZYcrylCINGaehsrquyfNuQCClzmMwwddAGBW8q-DYqGsQtbNn-JPpcQgeVPHXfbBx89JUQy04S7a0xDOprTA24MELs1z5gSNx-d2_fmFxnQol4C6G7e87FoJ32JTI/s200/o411471.jpg" border="0" /></a> assistant for music journalist and TV presenter Molly Meldrum. During the mid-'80s, she also worked for a time under Sire Records head Seymour Stein. In 2004, Randell went public with her amphetamine addiction, but it was too late. The damage inflicted on her brain, nervous system, and adrenal glands was extensive, and she died May 8, 2007, at the age of 57. http://www.answers.com/<br /><span style="color:#ffffff;">aa</span><br /><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=4f62a12" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><br /><span style="color:#ffffff;">aa</span><br />A clip of Lynda Randell's hit from 1967, 'Ciao Baby':<br /></div><div align="justify"><span style="color:#ffffff;">aa</span><br /><embed src="http://www.youtube.com/v/OHwJgjvwEyw&hl=" width="425" height="344" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" fs="1&"></embed></div><p>Lynne performing Flatt & Scruggs' 'It Won't Be Long':</p><p><embed src="http://www.youtube.com/v/0Vo6X8r--aQ&hl=" width="425" height="344" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" fs="1&"></embed></p>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com3tag:blogger.com,1999:blog-844066150003059872.post-26094374126744883792010-02-11T11:13:00.000-08:002010-02-11T11:16:51.366-08:00Nancy Holloway: Bye Bye ... plus / Hello Dolly (1964-1969)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiahI3wmOLilH585OoA201yKzF_-PB_YMinQPB91nP6eGBeHx5fXUqlG4k69-v08QK5ibi7D5riB_54MJGW3jQoBzSWFoN2BNsq2KX1zDkbmz8uTe_BJ64x6W_y_ol7lrLUtqGMBj8NYI/s1600-h/o2277999.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5435074305628221778" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiahI3wmOLilH585OoA201yKzF_-PB_YMinQPB91nP6eGBeHx5fXUqlG4k69-v08QK5ibi7D5riB_54MJGW3jQoBzSWFoN2BNsq2KX1zDkbmz8uTe_BJ64x6W_y_ol7lrLUtqGMBj8NYI/s200/o2277999.jpg" /></a>America's loss is France's gain. Nancy Holloway migrated to France primarily because of a sour, premature marriage and has remained a resident for more than 40 years, enjoying success as a recording artist and actress. Holloway's fame hasn't extended far past French borders, where she continues to record, sing, and appear in plush jazz nightspots. Though born and raised in America, she's virtually unknown in the United States. Born Nancy Brown in the '40s, and raised in Cleveland, OH, she was the only sister among three brothers: Walter, a retired Cleveland police officer; Joe, a retired career military man; and the youngest, Charles (aka Chuckie), who worked for a railroad in California. Holloway's half sister, Mary Holt, was Cleveland's first African-American female radio personality, popular in the '50s and '60s. The Browns lived at 7300 Wagner Avenue; Holloway attended Rawlings Junior High and East Technical High. She married a man with the surname of Holloway, who was controlling and abusive, after high school; Nancy Holloway left Cleveland to get away, first to New York, then Paris. In France she became popular recording French versions of pop and soul hits in the '60s; an Lp from this period, Bye Bye, depicts a young, beautiful Holloway on the cover. I included here a '90s reissue of that<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6FX_XNgIbSYtoFXLTxwmWDm1UE2o_asQGuhBjsblTr6QSawSgDZU5DAy6P5sJuU-Rz2P98_hM3sU-6XMH8hD0YBOga4kesReKdZUTRz-qiKogAPKlQ58FEG6CQcj9b6USQwFk7u6ftBw/s1600-h/Front.jpg"></a> album which contains<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipNNS4L-ZtwUPrl7DvnTp4GxjSLOSxmnVPXKBjn3EWBZDCeTrwfO2h5Id6RZ42V8m-okMyokNNdOEpBCTdfb8neUVBJKIonlNIYoxGhk1DagHPf-P0vuEqilyI0eotAXA7lV0894CZzv0/s1600-h/Front.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5435080942159125186" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipNNS4L-ZtwUPrl7DvnTp4GxjSLOSxmnVPXKBjn3EWBZDCeTrwfO2h5Id6RZ42V8m-okMyokNNdOEpBCTdfb8neUVBJKIonlNIYoxGhk1DagHPf-P0vuEqilyI0eotAXA7lV0894CZzv0/s200/Front.jpg" /></a> several bonus tracks (I added a few more myself). The selections include 'My Guy,' <a href="http://www.youtube.com/watch?v=xTTUoJKSJKc"><span style="color:#3333ff;">'Sealed With a Kiss,'</span></a> 'That's How Heartaches Are Made,' <a href="http://www.youtube.com/watch?v=wVIoJ9e_NNw"><span style="color:#3333ff;">'Don't Make Me Over,'</span></a> the Contours' 'Do You Love Me', <a href="http://www.youtube.com/watch?v=exY5CedPD74"><span style="color:#3333ff;">'Désappointé'</span></a> and the Charles Aznavour composition 'Prends Garde à Toi'. There are terrific takes on Marvin Gaye’s 'You're a Wonderful One' (<a href="http://www.goear.com/listen/8b0774d/le-plus-bel-amour-nancy-holloway"><span style="color:#3333ff;">'Le Plus Bel Amour'</span></a>) and Tammi Terrell’s pre-Motown 'If I Would Marry You' ('Je Suis Yé-Yé'). She pays homage to the Beatles too with 'Elle T'Aime' ('She Loves Me'), and <a href="http://www.youtube.com/watch?v=kiJc13HE69E"><span style="color:#3333ff;">'Je Veux Prendre Ta Main'</span></a> ('I Want to Hold Your Hand'). The songs included on Bye Bye represent Nancy Holloway's pop/soul side. They lose nothing in the translation thanks to Holloway and the arrangements. Marking her move away from pop, her final album of the decade, issued in 1969, was a collection largely of American show tunes and some soul hits. 'Hello Dolly' became the title track, and it also included 'Mame', <a href="http://www.youtube.com/watch?v=e2b0f-zR7VI"><span style="color:#3333ff;">'Hurts So Bad'</span></a>, 'As Long As He Needs Me', <a href="http://www.goear.com/listen/a49b610/light-my-fire-nancy-holloway"><span style="color:#3333ff;">'Light My Fire'</span></a> and great version of Betty Everett's hit <a href="http://www.youtube.com/watch?v=kfob1O5HohM"><span style="color:#3333ff;">'You're No Good'</span></a>. Although there were plenty of homegrown yé-yé girls singing French versions of US hits, Nancy represented the real thing – an American singing American songs in a highly American accent. http://www.readysteadygirls.eu/, http://www.allmusic.com/.</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">'Dum Dum Twist' perfomed by a young Nancy Holloway:</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/xU4IP6vll-A&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/xU4IP6vll-A&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Nancy singing live 'It's Over' in 1964:</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Bog1p-Yf6sE&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/Bog1p-Yf6sE&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">And, finally 'A Quoi Ca Sert Les Pleurs':</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/TIpt8hV8oPI&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/TIpt8hV8oPI&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com10tag:blogger.com,1999:blog-844066150003059872.post-60019583689115259162010-02-06T02:01:00.000-08:002010-02-06T02:04:35.239-08:00Marion Williams: The New Message / Standing Here Wondering Which Way to Go (1969/1971)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4LFOSa_lvGb9ly-rAiWoCb80dKazUfthqSbSe2bBj47nY78NKGiiyaaIcrXSv0Ha0eqJ_iKZksc2XQ0ph1XjFRl-3QBUqJM2L9M5oECcs8jjOE1qp6grv78HZP8HTYvPLMRlew59h7I/s1600-h/_media_cms_images_200909_081227819361_large.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 198px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5431388509171026114" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR4LFOSa_lvGb9ly-rAiWoCb80dKazUfthqSbSe2bBj47nY78NKGiiyaaIcrXSv0Ha0eqJ_iKZksc2XQ0ph1XjFRl-3QBUqJM2L9M5oECcs8jjOE1qp6grv78HZP8HTYvPLMRlew59h7I/s200/_media_cms_images_200909_081227819361_large.jpg" /></a>Generally considered one of the most influential Gospel singers of all time, Marion Williams sung with a full-body growl so intense that anyone who wants to dispute her right to the title had better bring along a megaphone and some throat lozenges. The other side of her style, soul-shattering falsettos and anointed, exclamatory whoops, had a direct effect on Little Richard, for one, as well as countless others in both Gospel and secular music circles. From 1948 to 1958 she was the central figure in the ever-touring Ward Singers, stunning audiences with the high-test stage-show/revival meeting and a larger-than-life presence that has made her a legend. A stint with the short-lived Stars of Faith followed, and in 1965 she launched a solo career that was marked by comeback after comeback until her death in 1994. Her recordings, as group member and soloist, are legendary, especially Prayer Changes Things, Gospel Now and The New Message, although it is generally agreed that they don't do justice to the emotional force or dazzling imagination that characterized her live performances. Regardless of where she was on the charts or in her personal life, Williams' singing was never less than <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx5y1SKtQpTtR-JhSU-gzis0J9-ASihVYXMuQUF3fvgUWWXhOpH333I9aJ1GwDf7aH74AGXX9CT-JVjWC7TpDYantSXbTsPQ84hHJk9QxVc1mo45AMbfTdZogxRz8bG3PVQZbicy0N0rs/s1600-h/0000416343_350.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5431719133972655378" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx5y1SKtQpTtR-JhSU-gzis0J9-ASihVYXMuQUF3fvgUWWXhOpH333I9aJ1GwDf7aH74AGXX9CT-JVjWC7TpDYantSXbTsPQ84hHJk9QxVc1mo45AMbfTdZogxRz8bG3PVQZbicy0N0rs/s200/0000416343_350.jpg" /></a>spectacular and her commitment to<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyzkDLCgLbGmL-bCz4Cnc6yMzwseoRmpCrc_s6sYSyV_Du6UnY_YwjXmwZgReOyeSI-G6vDdKse3ystsaRAKLFRo8GSs0EQrYDa818xJ6naeQcTKgcw37kyo4oYsFGqiKbTP4Jk-nbSfA/s1600-h/0000416343_350.jpg"></a> Christ was downright inflammatory. I have included here a pair of of the late gospel diva's finest moments: New Message and Standing Here Wondering Which Way to Go, both originally issued on Atlantic in 1969 and 1971, respectively. Several traditional gospel hymns are interspersed with reflective hits of the times including <a href="http://www.goear.com/listen/1d20bc0/he-aint-heavy,-hes-my-brother-marion-williams"><span style="color:#3333ff;">'He Ain't Heavy, He's My Brother,'</span></a> 'My Sweet Lord,' <a href="http://www.goear.com/listen/b9ee79b/people-got-to-be-free-marion-williams"><span style="color:#3333ff;">'People Got to Be Free'</span></a> and three from the pen of Bob Dylan, <a href="http://www.goear.com/listen/e42d8f8/i-shall-be-released-marion-williams"><span style="color:#3333ff;">'I Shall Be Released,'</span></a> 'Wicked Messenger,' and <a href="http://www.goear.com/listen/46eaba3/i-pity-the-poor-immigrant-marion-williams"><span style="color:#3333ff;">'I Pity the Poor Immigrant.'</span></a> Along with the majestic background vocals of the Sweet Inspirations and the Dixie Hummingbirds, several stellar jazz musicians are present including Keith Jarrett, Hank Jones, Ray Bryant, Bernard "Pretty" Purdie, Junior Mance and Joe Zawinul, making these thoughtful and passionate sessions highly recommended. </div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=00a0a1b" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div><div align="justify"><span style="color:#ffffff;">a</span></div><div align="justify">A historic event: probably the first black gospel concert ever in the Netherlands, 1962. Marion Williams sings 'Mean Old World':</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/DEpo4R76A4k&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/DEpo4R76A4k&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Marion singing 'Live the Life I Sing About in My Song' from her heart and soul:</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Dy1OlJGrtt4&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/Dy1OlJGrtt4&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">An inspiring performance of 'Packin' Up', with Billie Preston on the Hammond Organ:</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/NTuSOCkyjeg&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/NTuSOCkyjeg&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com10tag:blogger.com,1999:blog-844066150003059872.post-87574227188248379182010-02-03T00:22:00.000-08:002010-02-03T00:24:38.930-08:00Mary Hopkin: The Apple Years (1968-71) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVRqr0yvJrh4U5pf9g9kAz6HPy3ELfSomQEsG-fbNfXPWT1XCn4Ec5q0MMiEZQoicSFcnU3EzXFfj5Nez4DZYET0H4cy4nxCFC8_79g7ukRRmL7NaLqJ7UX0GXEvRWlR3UYZmC_pOiv7Y/s1600-h/Mary-Hopkin-Post-Card---Stere-71259.jpg"><img id="BLOGGER_PHOTO_ID_5428736947134702290" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVRqr0yvJrh4U5pf9g9kAz6HPy3ELfSomQEsG-fbNfXPWT1XCn4Ec5q0MMiEZQoicSFcnU3EzXFfj5Nez4DZYET0H4cy4nxCFC8_79g7ukRRmL7NaLqJ7UX0GXEvRWlR3UYZmC_pOiv7Y/s200/Mary-Hopkin-Post-Card---Stere-71259.jpg" border="0" /></a>It was the British supermodel Twiggy who alerted Paul McCartney to the Welsh singer Mary Hopkin when Apple Records was looking for talent in 1968. The waifish soprano scored a huge, worldwide smash with her first Apple single, the melancholy but rabble-rousing ballad <a href="http://www.youtube.com/watch?v=AyaTIXdN5fI"><span style="color:#3333ff;">'Those Were the Days,'</span></a> in late 1968; it actually knocked the Beatles' own 'Hey Jude' out of the number one position in the U.K. Paul McCartney lent Hopkin a further hand by producing her first album and writing her second single, <a href="http://www.youtube.com/watch?v=KFd6MCREGs0"><span style="color:#3333ff;">'Goodbye,'</span></a> which was also a hit. Besides 'Days', the highlights on Post Card, her<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBskl5c7qdHFW6nURfnbbui_0lcCKpaD0htIUduAilb936X64QrcSiqeq8SqR1F1SWRAnet8gaT5gMdH5T01szZruWEragW2ZpWkTun1992RC_Xho-XfIPWXAtEEam1pB0pnUGAHKkfro/s1600-h/Mary-Hopkin-Goodbye-83132.jpg"></a> debut Lp, are Donovan's 'Lord of the Reedy River' and <a href="http://www.youtube.com/watch?v=sFhsYpDTCKM"><span style="color:#3333ff;">'The Honeymoon Song,'</span></a> which McCartney himself had sung with the Beatles way back in 1963 on the BBC. Also on board is a rather nice composition, 'The Game,' by Beatles producer George Martin, who contributed some piano and orchestra conducting to the album. The reissue included here contains George Gershwin/Ira<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmH3AZvgMZnTvkw6wOinFSEG8YRgOsRf4bHr9qaWNiv4WJ9cmP6YsqmFr8-RhmgIpMDuYlm1xPWv6u0klMOVetX0ie9FXr-EZLHVKPG83WGAkb6yotHv4_x4zNN_k726qsq8MY_X5a2rQ/s1600-h/MaryHopkin02.jpg"><img id="BLOGGER_PHOTO_ID_5428740824668677522" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmH3AZvgMZnTvkw6wOinFSEG8YRgOsRf4bHr9qaWNiv4WJ9cmP6YsqmFr8-RhmgIpMDuYlm1xPWv6u0klMOVetX0ie9FXr-EZLHVKPG83WGAkb6yotHv4_x4zNN_k726qsq8MY_X5a2rQ/s200/MaryHopkin02.jpg" border="0" /></a> Gershwin's <a href="http://www.youtube.com/watch?v=Pe44cVb3Gr8"><span style="color:#3333ff;">'Someone to Watch Over Me'</span></a>, as well as <a href="http://www.youtube.com/watch?v=tNgtCrWVL_U"><span style="color:#3333ff;">'Turn! Turn! Turn!'</span></a> and versions of 'Those Were the Days' <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLoYkUtG9-Yxbq0FuASfBMEMHaFhMDO52PFiHfrW8k7aKGp-u5FwlOYp_poTzAicrH13LagrRrChesspGLtZOebWvO1-U4eYK2IynmPy2MOvOpKCW974wchR7bjNYRNFW_BNSAhpLU-Yc/s1600-h/Mary_Hopkins_-_Earth_Song_-_Front%5B1%5D.JPG"></a>that Hopkin sang in <span style="color:#3333ff;"><a href="http://www.goear.com/listen/e3c06ff/quelli-erano-giorni-mary-hopkin"></span><span style="color:#3333ff;">Italian</span></a> and <a href="http://www.youtube.com/watch?v=1K-KbDuP4kE"><span style="color:#3333ff;">Spanish</span></a>. More folk-oriented than her first effort, on her beautiful second album Earth Song, Ocean Song, Mary Hopkin's lilting voice soothes the listener like hot tea with honey. Included in this set, which was produced by Tony Visconti, are her interpretations of Ralph McTell's <a href="http://www.youtube.com/watch?v=uA3alipmyH4"><span style="color:#3333ff;">'Streets of London,'</span></a> Cat Stevens' 'The Wind,' and <a href="http://www.goear.com/listen/e3c06ff/quelli-erano-giorni-mary-hopkin"></a>Gallagher & Lyle's <a href="http://www.youtube.com/watch?v=U54OhQHQadc"><span style="color:#3333ff;">'International.'</span></a> In my opinion this one is undoubtedly her best album ever. Ms Hopkin is allowed to do what she does best and to perform material that's far better suited to her. It's a beautifully simple and acoustic affair - guitars, strings, harmonium, flutes, etc. - which comes over in the emotion and love that's clear in her voice. Also here is Caneuon Cynnar, a collection of ten songs Mary <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9U6DDhl9Ipi3wQqpZxzzFuwy4qHJx1SHYPZ-vRefFjCCKmuamDqXXLdwnEnMncueYHOi8zHF2KJnXB4G2F6uGiYEXNJCnq_CUkRwP547y3rxtsZXdhbjIyp8vv8_66nHriMZKxC5664/s1600-h/Mary_Hopkins_-_Earth_Song_-_Front%5B1%5D.JPG"><img id="BLOGGER_PHOTO_ID_5428756243219743954" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9U6DDhl9Ipi3wQqpZxzzFuwy4qHJx1SHYPZ-vRefFjCCKmuamDqXXLdwnEnMncueYHOi8zHF2KJnXB4G2F6uGiYEXNJCnq_CUkRwP547y3rxtsZXdhbjIyp8vv8_66nHriMZKxC5664/s200/Mary_Hopkins_-_Earth_Song_-_Front%5B1%5D.JPG" border="0" /></a>recorded circa 1965, when she was just fifteen. Although all sung in Welsh, you will recognise some of the tunes, as they are covers of songs already made famous by others. With Mary's distinctive high soprano and sparse musical backing, they sound different from usual, but fresh. The English titles of the songs covered include 'Turn Turn Turn', 'Tammy', <a href="http://www.youtube.com/watch?v=ZcOFTvyPIks"><span style="color:#3333ff;">'Morning of My Life'</span></a>, 'Something Stupid' and 'Can't Help Falling in Love'. There are <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_warvj4HtsjmaXVsfFlHGctwIujQ1ZhoSZTtHtmjtr0TpwY9GyuholHBN4sQk5kVj159D1dgGHzB3Eo9LHeiBJG1Spkk00qZuikQXppcsDbirynRo-Szlq0mxVv3ewcVBZmeKLPlGEVc/s1600-h/Mary_Hopkin_-_Y_Caneuon_Cynnar_The_Early_Recordings_-_Front%5B1%5D.JPG"></a>also covers of <a href="http://www.youtube.com/watch?v=8QGiLoei9Tc"><span style="color:#3333ff;">'Plaisir d'Amour'</span></a> and 'Guantanamera', so it's not only English language songs that were translated into Welsh for Mary to sing. Finally, I added a Bonus Tracks folder which is, more or less, the 1995 Those Were the Days compilation (without the duplicated files and with some more I added). It contains many of Mary's best known songs, precisely those which weren't originally included in her two Apple albums, such as <a href="http://www.youtube.com/watch?v=0-5IpNAVJIU"><span style="color:#3333ff;">'Temma Harbour'</span></a>, 'Goodbye', <a href="http://www.goear.com/listen/7d79cb1/think-about-your-children-mary-hopkin"><span style="color:#3333ff;">'Think About Your Children'</span></a>, <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRYz8x1hWBZeqZ14Yy0BS-wHJOUHvvFq97OJJcwolFr1cYzZqFX-8pLBXVm_BRce3iDC0iTqxsjjZtmW2fgAMlQ99LSkY2mWDWALwsrX_H8CQoYEB9ifyAsKICK7gTinX3rsFsNR1Sv3M/s1600-h/Mary-Hopkin-Let-My-Name-Be-So-351252.jpg"><img id="BLOGGER_PHOTO_ID_5428738626645777730" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRYz8x1hWBZeqZ14Yy0BS-wHJOUHvvFq97OJJcwolFr1cYzZqFX-8pLBXVm_BRce3iDC0iTqxsjjZtmW2fgAMlQ99LSkY2mWDWALwsrX_H8CQoYEB9ifyAsKICK7gTinX3rsFsNR1Sv3M/s200/Mary-Hopkin-Let-My-Name-Be-So-351252.jpg" border="0" /></a>'Knock Knock, Who's There', <a href="http://www.youtube.com/watch?v=Ec2cvVHCUlo"><span style="color:#3333ff;">'Jefferson'</span></a>, <a href="http://www.youtube.com/watch?v=s2UX7_kpNHg"><span style="color:#3333ff;">'The Fields of St. Etienne'</span></a>, 'Que Sera Sera', <a href="http://www.goear.com/listen/684569d/heritage-mary-hopkin"><span style="color:#3333ff;">'Heritage'</span></a>, <a href="http://www.youtube.com/watch?v=duCXO1tOkkg"><span style="color:#3333ff;">'For All My Days'</span></a> and <a href="http://www.goear.com/listen/452e447/sparrow-mary-hopkin"><span style="color:#3333ff;">'Sparrow'</span></a>. All in all, you got here <strong>57 Mary Hopkin's songs</strong> to enjoy!! http://www.amazon.co.uk/, http://www.allmusic.com/ BTW: you'll find all the cover arts you need <a href="http://www.mega-search.net/search.php?terms=mary+hopkin&group=audio"><span style="color:#3333ff;">here</span></a>.<br /><span style="color:#ffffff;">aa</span></div><div align="justify">The single Goodbye, released on 28 March 1969; it reached #2 in the UK singles chart:</div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/TbhEtYdZ3Wo&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/TbhEtYdZ3Wo&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><br /><div align="justify">'Knock Knock, Who's There', written by John Carter & Geoff Stephens. Good Eurovision performance from Mary in 1970: </div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/lb0dBVWozRo&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/lb0dBVWozRo&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com6tag:blogger.com,1999:blog-844066150003059872.post-88800071593340532102010-02-01T00:21:00.000-08:002010-02-01T00:43:26.778-08:00About the playlist.<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO07HYfT9bMXkLwQ2oMjhwF2O3NpD9vIcbhnkqOARf2q2OUU414bmxkPHd8hhYMXiQ2C-ZldlMDabjZhKaDLHJGlzdidKtD0sF0Di2eIZoHCg_6BZmE1mLQD_lt_dM6VCj0qVDKXteciY/s1600-h/Dibujo.JPG"><img id="BLOGGER_PHOTO_ID_5433191556329720706" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 88px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO07HYfT9bMXkLwQ2oMjhwF2O3NpD9vIcbhnkqOARf2q2OUU414bmxkPHd8hhYMXiQ2C-ZldlMDabjZhKaDLHJGlzdidKtD0sF0Di2eIZoHCg_6BZmE1mLQD_lt_dM6VCj0qVDKXteciY/s200/Dibujo.JPG" border="0" /></a>This is just to let you know, once and for all, that if you want the music from the playlist on this page to stop - to be able to listen to the sample songs on each post, for instance -, all you need to do is <strong>PRESSING THE PAUSE BUTTON ON THE iPod!!</strong> It is quite easy, isn't it? I want the playlist on autoplay simply because I like it like that, especially when it is possible for you to stop it any time you want to. That's the way it is going to stay; so, PLEASE, don't bother asking me to change that... ;-) </div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com6tag:blogger.com,1999:blog-844066150003059872.post-61110000409060541122010-01-30T00:54:00.000-08:002010-01-30T00:59:25.104-08:00Madeline Bell: Madeline Bell (1971)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE54QuacZWgmFmQCh-RMw65lAwurJQEtqEpbp2E3FNRzghOvze6_yzSFYKK_RBLSeOcBO0dRI6uxu8WHp0laWyiyQmdh-UJQi7BCoJOtuR_jw3trdDdKP7MyMDxghRh6f7ye80Blw3BC4/s1600-h/Madeline-Bell-Madeline-Bell-333694.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 195px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5430588020058557778" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE54QuacZWgmFmQCh-RMw65lAwurJQEtqEpbp2E3FNRzghOvze6_yzSFYKK_RBLSeOcBO0dRI6uxu8WHp0laWyiyQmdh-UJQi7BCoJOtuR_jw3trdDdKP7MyMDxghRh6f7ye80Blw3BC4/s200/Madeline-Bell-Madeline-Bell-333694.jpg" /></a>Wonderful work from Madeline Bell, a great singer with a sound that's equal parts American soul and British '60s female pop. The recordings here are from Madeline's last solo Lp for Philips Records. Simply titled Madeline Bell, it was released in 1971, more or less at the same time she was achieving greater fame on crossover rock recordings with Blue Mink. As a matter of fact, the band's single 'The Banner Man' on Regal Zonophone was released in the spring of that same year, and reached #3 in the UK chart. The sound of Madeline's record is wonderful, a bit more R&B oriented than her <a href="http://supersoulsisters.blogspot.com/search?q=madeline+bell%27s"><span style="color:#3333ff;">two previous efforts</span></a> for Philips. The album, which has got Doris Troy on backing vocals, includes some great funk tracks, like the single 'If You Didn't Hear Me the First Time', and <a href="http://www.goear.com/listen/bb1b9d3/get-off-your-back-sides-madeline-bell"><span style="color:#3333ff;">'Get Off Your Back-Sides'</span></a>, but it also has its moments of soft pop/soul like <a href="http://www.goear.com/listen/597a1d5/you-walked-away-madeline-bell"><span style="color:#3333ff;">'You Walked Away'</span></a>, 'Make It with You' and <a href="http://www.goear.com/listen/211ac34/ordinary-people-madeline-bell"><span style="color:#3333ff;">'Ordinary People'</span></a>. This is definitely Madeline's hardest LP to track down. As it has never been released on cd, it is still well in demand, selling for around £50,00 now. Enjoy!<br /></div><div align="justify"><object width="353" height="132"><br /><embed src="http://www.goear.com/files/external.swf?file=b0b7a63" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div><div align="justify"><span style="color:#ffffff;">ff</span></div><div align="justify">Madeline Bell, with her band Blue Mink, performing 'Our World' in 1970:</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/i2hZM6IYYEk&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/i2hZM6IYYEk&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com5tag:blogger.com,1999:blog-844066150003059872.post-60438994151707463072010-01-27T00:53:00.000-08:002010-01-27T01:10:52.336-08:00Lesley Gore: It's My Party (5-CD Box Set) (1963-1969)<div align="justify"><img id="BLOGGER_PHOTO_ID_5430726493874801314" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7YPxXh4bqvwwE5SISwzIBgiW7sTj_0pFbbQFZ9sSeJ8WVIY0V-98NRt3oivgHWQeSSM8E6j8GPKqxYqHPzER0n_w8pP6hTMhuCuHWMBn0qRnJD38xlkmCCZPfNYPViip1V71io8PlR8M/s200/41tIeds2xYL.jpg" border="0" />The popular appraisal of Lesley Gore is that she sang teen soap opera songs that never pulled their substance much above puppy love, and while a cursory listen to songs like <a href="http://www.goear.com/listen/6251e1c/it´s-my-party-lesley-gore"><span style="color:#3333ff;">'It's My Party'</span></a> and <a href="http://www.youtube.com/watch?v=Yy7aPyNuPxA"><span style="color:#3333ff;">'Judy's Turn to Cry'</span></a> would appear to support that view, there's more going on beneath the surface than meets the ear. For starters, Gore had a jazz background, and her vocal phrasing, even in her most generic releases, was always sharp and clear. Add to that the production of Quincy Jones, who worked with Gore during her peak Mercury years, and the end result is a series of recordings that continue to sound fresh and effective even into the 21st century. In retrospect, it would appear Gore's theme was<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ36eM2Mcprxpvswmaq9DLJ5yDkC1Jyj5R2tGrUKRDA7aXfjisNqBzWatIBDhofk6HlHSr0aHq1Aox64ylHNzmo14Wh66RwHkQK7skzj-3t5_jbLGX_eKMPSevs-ysbGchynDf1IlzkcA/s1600-h/41tIeds2xYL.jpg"><img id="BLOGGER_PHOTO_ID_5430726018343458530" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ36eM2Mcprxpvswmaq9DLJ5yDkC1Jyj5R2tGrUKRDA7aXfjisNqBzWatIBDhofk6HlHSr0aHq1Aox64ylHNzmo14Wh66RwHkQK7skzj-3t5_jbLGX_eKMPSevs-ysbGchynDf1IlzkcA/s200/41tIeds2xYL.jpg" border="0" /></a> always the struggle for personal identity (which also happens to be a pretty good definition of what goes on during the teen years), culminating in the powerful <a href="http://www.goear.com/listen/cb49ed2/you-dont-own-me-lesley-gore"><span style="color:#3333ff;">'You Don't Own Me,'</span></a> a feminist anthem a decade before the term even began to take hold. Even <a href="http://www.youtube.com/watch?v=5HZTcr9vpMw"><span style="color:#3333ff;">'That's the Way Boys Are,'</span></a> which could be read as a shallow song of blind acceptance, is sung by Gore with a sly sense of dismissal that turns the song on its own heels, while later-era tracks like <a href="http://www.youtube.com/watch?v=C7oHjcA84YI"><span style="color:#3333ff;">'Small Talk,'</span></a> which illustrates the desperate ennui that can enter and undermine a relationship, demonstrates that in matters of love — even puppy love — personal identity is <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ4fCLdHdXo2CxEIAlRADdeAlAQ2MhS7KQFbhrXsBs7M09ge6FPjW5Z_8wsh_RvS3m1ijDIFgP2zTiUS0byfgAGZXsk_fsPEwgwyW1dHQ8tCOlAQjUamXficJF7uIOQ06B1Dl_9h5E0z8/s1600-h/41tIeds2xYL.jpg"><img id="BLOGGER_PHOTO_ID_5430726263110051346" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ4fCLdHdXo2CxEIAlRADdeAlAQ2MhS7KQFbhrXsBs7M09ge6FPjW5Z_8wsh_RvS3m1ijDIFgP2zTiUS0byfgAGZXsk_fsPEwgwyW1dHQ8tCOlAQjUamXficJF7uIOQ06B1Dl_9h5E0z8/s200/41tIeds2xYL.jpg" border="0" /></a>always at stake. This gargantuan five-CD set contains absolutely all those great tracks Lesley cut for Mercury Records between 1963 and 1969. Whether covering standards, helping put neophyte songwriter Marvin Hamlisch on the map, or adding to Carole King and Gerry Goffin's string of successes, Gore and her producers put a special stamp on everything they recorded. It's difficult to pick high points from Disc One and Two, the prime of Gore's career, when she was starting to sound like a woman rather than a girl. Disc Three shows her doing more mature songs with a very different, more assertive sound, courtesy of producer Jack Nitzsche. All of the Nitzsche sessions have a peculiarly soulful feel<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI-hWeDWh_VjBEXri_cKYWwYm1cKu5VdqnzRPhgHfyda6hf30g_bGwF_C3iSNRnWr_h6pqqF7r4SNvj5JkI3idA7EXFkUANHUICATN6kD1huw7-LrZjS6kDrRDKOxY1sOTYLlIgkGeWhk/s1600-h/41tIeds2xYL.jpg"><span style="color:#3333ff;"><img id="BLOGGER_PHOTO_ID_5430727942124039842" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI-hWeDWh_VjBEXri_cKYWwYm1cKu5VdqnzRPhgHfyda6hf30g_bGwF_C3iSNRnWr_h6pqqF7r4SNvj5JkI3idA7EXFkUANHUICATN6kD1huw7-LrZjS6kDrRDKOxY1sOTYLlIgkGeWhk/s200/41tIeds2xYL.jpg" border="0" /></span></a> that was new to Gore's output; he worked some magic on 'No Matter What You Do' and <a href="http://www.youtube.com/watch?v=mAQAcpldwkU"><span style="color:#3333ff;">'Baby</span></a><a href="http://www.youtube.com/watch?v=mAQAcpldwkU"><span style="color:#3333ff;"> That's Me'</span></a>, a song The Cake also recorded. The Shelby Singleton sessions make up most of the second half of the disc. Alas, Gore did no recording at all in 1966, partly due to her desire to complete her education, and the lapse shows in this set — when she re-emerged in 1967, she lost a little bit of immediacy, as well as lots of relevance. The material from Disc Four covers this tail end of Gore's commercial career, including her last big hit, <a href="http://www.youtube.com/watch?v=V6zhSpQpIM8"><span style="color:#3333ff;">'California Nights,'</span></a> as well as a handful of unreleased tracks from the never-issued Magic Colors album. The <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhFNBTzA2kY3rEr-FIQa-FTlhXwXnmmirK6bJXXJKBPI7QVgYejGhECQxHjyRomzVoMwLyga1AycJ87U5eL8ZXg_pVXKZhhUrbRZyky0kZe-2UD2DOH5y78JqtmRpsq_r12sKkkruvoc/s1600-h/41tIeds2xYL.jpg"><img id="BLOGGER_PHOTO_ID_5430728316271122642" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhFNBTzA2kY3rEr-FIQa-FTlhXwXnmmirK6bJXXJKBPI7QVgYejGhECQxHjyRomzVoMwLyga1AycJ87U5eL8ZXg_pVXKZhhUrbRZyky0kZe-2UD2DOH5y78JqtmRpsq_r12sKkkruvoc/s200/41tIeds2xYL.jpg" border="0" /></a>opening of Disc Five shows Gore moving into a more sophisticated pop-rock mode, close to what Carole King would succeed with a couple of years later. Unfortunately, nobody was listening to Gore by this time, and her performing career came to a halt with the end of the '60s. The major part of this last disc is given over to Gore's foreign-language recordings of her own hits. http://www.allmusic.com/ </div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Wicked live footage of Leslie Gore telling it like it should be, early '60s:</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/CmOrWG2FTbg&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/CmOrWG2FTbg&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">A performance of 'Hello Young Lovers' and 'Didn't We' on Playboy After Dark, late '60s:</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/HMiNQfaSGFU&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HMiNQfaSGFU&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">And, finally, Lesley on the Donna Reed Show, in 1966:</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/eGTiiVPl2O0&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/eGTiiVPl2O0&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com7tag:blogger.com,1999:blog-844066150003059872.post-43085355598686548592010-01-24T00:26:00.000-08:002010-01-24T00:27:28.848-08:00Pat Thomas: Jazz Patterns (1961) / Desafinado (1963) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg190oUkR7zWQLiSKMcRBSBFPNdaOL_f4j-zr2yaPDKm8C7LYAwYyK-qcLUgQgVivc3dgi0LnSh0n7V4xmvLpMUNp_irs3sNSNFVcOJlGCb8cDnrahvlEaSQeF6dDBjOTzAdLGZkBYiwW8/s1600-h/Jazz+Patterns+-+Front.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 198px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5428131580532250226" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg190oUkR7zWQLiSKMcRBSBFPNdaOL_f4j-zr2yaPDKm8C7LYAwYyK-qcLUgQgVivc3dgi0LnSh0n7V4xmvLpMUNp_irs3sNSNFVcOJlGCb8cDnrahvlEaSQeF6dDBjOTzAdLGZkBYiwW8/s200/Jazz+Patterns+-+Front.jpg" /></a>Jazz Patterns, de debut album from obscure Chicagoan jazz singer Patricia "Pat" Thomas, is a pretty hip collection of jazz vocal numbers released on the Strand label in 1961. The record is a bit like Lorez Alexandria's work from the same time, solid all the way through vocally, but with a deeper sense of soul than most other singers of her generation. Pat's vocals are always strong and extremely captivating, giving the impression that, like Sarah Vaughan, she can sing anything. The emphasis here is on ballads and standards, with Thomas putting plenty of feeling into such numbers as 'Mean to Me', <a href="http://www.goear.com/listen/76a3a15/almost-like-being-in-love-pat-thomas"><span style="color:#3333ff;">'Almost Like Being in Love'</span></a>, 'There Will Never Be Another You', 'My One and Only Love' and <a href="http://www.goear.com/listen/9ca8f70/stella-by-starlight-pat-thomas"><span style="color:#3333ff;">'Stella By Starlight'</span></a>. Pat's second album Desafinado (1963), released on MGM, is a bossa-styled classic set thanks to her working with Lalo Schifrin as conductor/arranger, and musicians Paul Horn, Laurindo Almeida, Buddy Clark, and Mel Lewis (the song <a href="http://www.youtube.com/watch?v=9543sUTOi4k"><span style="color:#3333ff;">'Desafinado'</span></a> was even made into a Scopitone!).<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9XzJYdv8OWuJKoGxPlmeNW5xJOw9nrHzW_d8fNxs5juTTN-LsxmLjvxWK8_lpvpUL096TraYJ9kxyLUIld5hrgLznMfj1c7Wc75oKOPOkcJhFLod6a_H0pqtYFofMmb7lkVd5MG8xaA/s1600-h/Desafinado+-+Front.jpg"></a> Lalo's using a fair bit of strings on the set, but he also keeps things lean too - a bit in the mode of his own bossa work for Verve during the time, although with Pat's vocals in the lead this time around. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKZhrQZOaSrgj6fhndyU5bxkdqVGx8IIyZvDKJ0evFIW6lAjBFBITcissT2pNMOCjeTW2ciAgMuRzJnVSyCfib-Tb4Ed8DwBtbt8RS5ybQQL9S5dTvkrccY7Kl-GrhlCVTYJp-w1Z-cTY/s1600-h/PAT_THOMAS_Desafinado%2520AL.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5428768562709905570" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKZhrQZOaSrgj6fhndyU5bxkdqVGx8IIyZvDKJ0evFIW6lAjBFBITcissT2pNMOCjeTW2ciAgMuRzJnVSyCfib-Tb4Ed8DwBtbt8RS5ybQQL9S5dTvkrccY7Kl-GrhlCVTYJp-w1Z-cTY/s200/PAT_THOMAS_Desafinado%2520AL.jpg" /></a>Thomas has a strong undercurrent of soul in her work, which<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqaC61FTxHwIl8FuNVXZTCXJQMTZKmclEA-ycORIe0FEIHF9dUGidDYYpMa6A02y6ogR-D883PCP8zfAeNkYz24tbL1ISKMz7v5gaZ6odXxfHwhfLyMAIKbEgViMPqgKAR_P03KJWs4XY/s1600-h/Desafinado+-+Front.jpg"></a> is one of the things that really sets this album apart. Schifrin really seems to get this quality of Pat's, and he brings in a good sense of timing in rhythms to present Thomas at her best. Titles include <a href="http://www.goear.com/listen/6d4824d/recardo-bossa-nova-pat-thomas"><span style="color:#3333ff;">'Recardo Bossa Nova'</span></a>, 'Carnival', <a href="http://www.goear.com/listen/d34bd36/to-welcome-the-day-pat-thomas"><span style="color:#3333ff;">'To Welcome the Day'</span></a>, 'Could Be', 'Samba De Orfeu', and <a href="http://www.goear.com/listen/2c2000e/once-again-pat-thomas"><span style="color:#3333ff;">'Once Again'</span></a>. I added <strong>two extra tracks</strong>, issued as singles at the time, for MGM and Verve respectively. 'Where There's Love There's Hope' (1963) is a classic girl group oldies song written by Ben Raleigh. Pat's vocals are stellar as they fly into ranges you might not think are possible over impeccable arrangements by Claus Ogerman. <a href="http://www.goear.com/listen/d277612/where-there/s-love-there/-"><span style="color:#3333ff;">'Where There's Love There's Hope'</span></a> was released as the b-side for 'Home in the Meadow', from John Ford's How the West was Won; a song with a Western theme, so it's nice that this girl group gem was found in such a strange place. The second bonus is an impeccable version of Jerry Ragovoy's classic 'I Can't Wait Until I See My Baby's Face'. Co-written with Chip Taylor, the tune was originally recorded by Baby Washington and would gain several more covers, including by Aretha Franklin and another Ragovoy collaborator, Dusty Springfield; but personally, I'm most partial to this 1964 version by Pat Thomas, with Ragovoy arranging.<br /><object width="353" height="132"><br /><embed src="http://www.goear.com/files/external.swf?file=d868be1" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/M_4Dv1YX1vk&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/M_4Dv1YX1vk&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com7tag:blogger.com,1999:blog-844066150003059872.post-66982223014026188152010-01-19T04:48:00.000-08:002010-01-19T04:51:30.434-08:00Kathe Green: Run the Length of Your Wildness (1969) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUaKm3yfrWKgNov96cB7ZNLOTXV99UlXxWFn7xLxiK5uuuqnSIVm_12wmzm6IDIiiPvZtKvoLV-rC_BnZINNfbM4yoCHN_U1LyenU31cytMt36dKaLPTdZx2HPFP5kfo1DhNtNHHtFFUA/s1600-h/Dibujo.JPG"><img id="BLOGGER_PHOTO_ID_5427993118168731010" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUaKm3yfrWKgNov96cB7ZNLOTXV99UlXxWFn7xLxiK5uuuqnSIVm_12wmzm6IDIiiPvZtKvoLV-rC_BnZINNfbM4yoCHN_U1LyenU31cytMt36dKaLPTdZx2HPFP5kfo1DhNtNHHtFFUA/s200/Dibujo.JPG" border="0" /></a>Californian actress, model and singer Kathe Green cut this hugely sought after but rare-as-hell long player for Deram in 1969 after having appeared in The Party with Peter Sellers. Finding herself in London as guest and bosom buddy of Richard Harris, himself enjoying a spin-off career as a hugely successful pop star at the time, Kathe found herself singing Mark Lester's vocal parts on <a href="http://www.goear.com/listen/fcfead8/where-is-love?-kathe-green"><span style="color:#3333ff;">'Where Is Love?'</span></a> for the soon-to-be-massive Oliver soundtrack. She was snapped up by Deram where she was teamed up with in-house whiz-kid producer Wayne Bickerton, arranger supreme John Cameron and the cream of London session players. Run the Length of Your Wildness can't quite make up its mind whether to be pop-folk or Swinging London pop/rock. In that respect, as well as in its Baroque orchestral arrangements it's reminiscent of another late-'60s record, Dana Gillespie's <a href="http://tyme-machine.blogspot.com/2009/01/dana-gillespie-foolish-seasons-uk-1967.html"><span style="color:#3333ff;">Foolish Seasons</span></a> — not surprising, as Bickerton produced both albums. The resemblance between the two singers is emphasized by a song that appears on both LPs, <a href="http://www.goear.com/listen/19f4ece/tears-in-my-eyes-kathe-green"><span style="color:#3333ff;">'Tears in My Eyes'</span></a>. You can throw in some similarities to a few other British female vocalists of the time straddling the lines between pop and folk, like Marianne Faithfull, Vashti Vunyan and (much more distantly) Judith Durham of the Seekers or even Sandie Shaw. Green did write or co-write much of the material on the album, and some of it's above average for this orchestrated British pop-folk-rock genre, particularly <a href="http://www.goear.com/listen/190282a/primrose-hill-kathe-green"><span style="color:#3333ff;">'Primrose Hill'</span></a> and the slightly Donovan-ish <a href="http://www.goear.com/listen/39dfdf3/promise-of-something-new-kathe-green"><span style="color:#3333ff;">'Promise of Something New'</span></a>. She also turns in a lump-to-the-throat reading of Cameron's perennial <a href="http://www.goear.com/listen/2e04484/if-i-thought-you/-"><span style="color:#3333ff;">'If I Thought You'd Ever Change Your Mind'</span></a>. Housed in a striking sleeve which featured gushing notes by the likes of Peter Sellers, Rex Harrison and Simon Dee and named after a line of poetry bestowed on her by Richard Harris himself, Run the Length of Your Wildness disappeared as quickly as it had come, only being picked up on through Internet exposure over the last years. Produced in conjunction with Kathe herself, this is a lost late '60s femme pop classic! I included in a separate file her contribution to the motion picture soundtrack Oliver! (1968), 'Where Is Love?'. http://www.cherryred.co.uk/, http://www.artistdirect.com/ </div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="132" width="353"><embed src="http://www.goear.com/files/external.swf?file=f6934c5" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com8tag:blogger.com,1999:blog-844066150003059872.post-83188410903639101252010-01-15T04:36:00.001-08:002010-01-16T01:30:40.948-08:00Jo Armstead: A Stone Good Lover (1996)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPX3k1KzZTRbL5TkrYsgOc4v7SF_oI7Nkb95FAqmZzNfAEeQoSpmdyHsC69OpzwTjmnWy-96SvOUUorv9p1DXyzSk0NgWDXhcQgqwK8uFOadawLXx5qRKl8C2HOJTvkwhZLDC1F0xOD7U/s1600-h/Front.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 199px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5426944584078571058" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPX3k1KzZTRbL5TkrYsgOc4v7SF_oI7Nkb95FAqmZzNfAEeQoSpmdyHsC69OpzwTjmnWy-96SvOUUorv9p1DXyzSk0NgWDXhcQgqwK8uFOadawLXx5qRKl8C2HOJTvkwhZLDC1F0xOD7U/s200/Front.jpg" /></a>Jo Armstead has had a long and distinguished career in the music business. She started out as an Ikette in the early '60s before going solo in New York cutting for Infinity in 1965. But she was an expert songwriter as well as singer, penning songs for other artists, including Ray Charles' number one R&B classic 'Let's Get Stoned' with Ashford and Simpson. Born Josephine Armstead on October 8, 1944, in Yazoo City, MS, she joined the Ike & Tina Turner Revue in 1961 singing background vocals as one of the Ikettes who had a 1962 number three R&B hit with <a href="http://www.youtube.com/watch?v=cMWJe85Y7kA"><span style="color:#3333ff;">'I'm Blue (The Gong-Gong Song)'</span></a> on Atco Records. Relocating to New York City, she began collaborating with Nick Ashford and Valerie Simpson who were staff writers for the publishing branch of Scepter/Wand Records. Other Armstead/Ashford/Simpson songs were 'Too Hot to Hold,' 'The Shoe Won't Fit,' and <a href="http://www.youtube.com/watch?v=C_koJHTrlkA"><span style="color:#3333ff;">'The Real Thing'</span></a> by Betty Everett on VeeJay; the latter was a 1965 number 20 R&B hit by Tina Britt on Eastern. In 1967, Armstead moved to Chicago from New York and formed Giant Productions with her new husband, Mel Collins. The label, which issued releases on the Giant, Globe, and Gamma imprints, had offices at 56th and Maryland, then 81st and Cottage Grove. The artist roster included Ruby Andrews, Garland Green, Fenton Robinson, Little Jimmy Scott, Shirley Wahls, Smokey Smothers, and Armstead herself, recording as Joshie Jo Armstead or Jo Armstead. Their first hit, Carl Carlton's 'Drop by My Place,' was recorded in Detroit with arranger Mike Terry. Hollandale, MS, native Ruby<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GisC9octOpVCi-z4kraBASRdgoNYt0f0Tgbc2EyzPoowUbp_WM654lT4reescWhu3_TGDCrY2DqG50wOTIJ7xETIfRCFPiNEu8XZScSK51G-RBblLYuy0Fn1GqZ_elhWzoLyzit6fNQ/s1600-h/Jo_Armstead14.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5426997765973563522" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GisC9octOpVCi-z4kraBASRdgoNYt0f0Tgbc2EyzPoowUbp_WM654lT4reescWhu3_TGDCrY2DqG50wOTIJ7xETIfRCFPiNEu8XZScSK51G-RBblLYuy0Fn1GqZ_elhWzoLyzit6fNQ/s200/Jo_Armstead14.jpg" /></a> Andrews' <a href="http://www.youtube.com/watch?v=J3lw0qHNGJk"><span style="color:#3333ff;">'Casanova (Your Playing Days Are Over),'</span></a> released on Ric Williams' Zodiac label, hit number nine R&B in the summer of 1967. Armstead wrote, produced, and recorded the Terry-arranged <a href="http://www.youtube.com/watch?v=t9Ez6f6SCaU"><span style="color:#3333ff;">'A Stone Good Lover,'</span></a> which went to number 28 R&B in spring 1968. Giant's sole million-selling single was Garland Green's <a href="http://www.youtube.com/watch?v=9DD91dMGSdI"><span style="color:#3333ff;">'Jealous Kind of Fella,'</span></a> which was leased to MCA's Uni label and peaked at number five R&B on Billboard's charts in summer 1969. By 1970, Giant was no longer active. Armstead returned to New York, but was back in Chicago by the late '80s, managing boxer Alonzo Ratliff. A Stone Good Lover is a nice collection of Armstead's late-'60s and early-'70s hits. Highlights include <a href="http://www.youtube.com/watch?v=fsNg_e4nUxE"><span style="color:#3333ff;">'There's Not Too Many More (Left Like Him),'</span></a> <a href="http://www.youtube.com/watch?v=dk0ZWis-kEk"><span style="color:#3333ff;">'I've Been Turned On,'</span></a> <a href="http://www.youtube.com/watch?v=HOVBetqGmFo"><span style="color:#3333ff;">'I'm Gonna Show You (How a Man Is Supposed to Be Treated),'</span></a> <a href="http://www.youtube.com/watch?v=ANS-IR6A8SM"><span style="color:#3333ff;">'Got My Taste (of The Honey)'</span></a> 'I Feel an Urge Coming On' and the title track. Armstead's early training with Ike and Tina Turner shines brightly on these tracks, and as a woman writing much of her own material, this distanced her from other R&B divas of the time. A hidden treasure by a vastly underrated writer and performer.</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=8f93ac6" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Jo Armstead performing a remake of her beautiful mid tempo piece of sizzling wonderfulness, 'I Got the Vibes', in 1998:</div><div align="justify"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/ClbS01_x_jw&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/ClbS01_x_jw&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com4tag:blogger.com,1999:blog-844066150003059872.post-55734332295138501652010-01-06T08:56:00.001-08:002010-01-06T08:56:57.151-08:00Margie Day: Dawn of a New Day (1968) / Experience Margie Day (1969) ... plus<div align="justify"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 199px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5420256002705625858" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1tTFzTqA71bwarziUdqva5AMgGAprtxI_gV3ox9qSyQaTJUg7TAu3TWChO2xWOxbM3Tb-VtEXnvY4WpwtSv87OhPf3tMlR5JCgb7ubvJZcfCYSM2rnKfj5Cv-A0K9sdA9UPD7HU7-K0/s200/day_margie~_dawnofane_101b.jpg" />With her gutsy, no-holds-barred, delivery, Margie Day emerged as a solid R&B vocalist of the '50s. As lead singer for the Griffin Brothers Orchestra, Day twice reached the R&B top ten between 1950 and 1951, lending her boisterous voice to 'Street-Walkin' Daddy' and the Willie Dixon-penned <a href="http://www.divshare.com/download/10044330-5d4"><span style="color:#3333ff;">'Little Red Rooster'</span></a>. Inspired by her success, she left the Griffin Brothers Orchestra to perform briefly with Paul Williams's band. By the end of the 1952, she had moved on to the Floyd Dixon Combo, with whom she toured throughout the Midwest. Announcing her retirement in 1964, Day returned to her hometown of Norfolk, Virginia. Encouraged to return to performing, she joined the Dick Morgan Trio, in the late-'60s, and recorded these two compeling albums for RCA. First up is Dawn of a New Day - a set that has Margie working in a really unique approach to vocals - a bit jazzy at times, inflected with bluesy undercurrents at others, but often delivered with a sense of class and poise that's a bit like Nancy Wilson at Capitol. Given that Margie's always apt to push the inflections on the tunes, working the notes heavily with very soulful expression, she really changes things up from the usual album of this type, and creates a nice sense of tension with the arrangements from Ray Ellis, Chuck Sagle, and Jimmy Wisner. Titles include 'Am I Blue', 'Walk Away', 'As Time Goes By', <a href="http://www.divshare.com/download/10024378-db4"><span style="color:#3333ff;">'Much Too Long'</span></a>, 'Ain't It The Truth', 'Let's Do It', and <a href="http://www.divshare.com/download/10024388-7c9"><span style="color:#3333ff;">'In Times Like These'</span></a>. Experience Margie Day is pretty groovy little set, a record which is somewhere in a space between jazz and soul vocals, and put together with some really unique inflections overall. There's a surprisingly sophisticated quality to the music, almost like some of Marlena Shaw's late '60s music, filled with adult themes and featuring a track list that includes a fair bit of unfamiliar numbers that really keep things fresh. Arrangements are by Ray Ellis, Art Beck, and Garry Illingworth, the latter of whom wrote some of the best tracks on the set. Titles include <a href="http://www.divshare.com/av_skin/10025320/"><span style="color:#3333ff;">'What Does He Think'</span></a>, 'If The Laugh-In Don't Kill Me', 'I Keep It Hid', 'Time Doesn't Matter Anymore', 'Ever Livin' Lovin' Program Plan', 'Rainbow People', 'I Thought About You', <a href="http://www.divshare.com/av_skin/10027123/"><span style="color:#3333ff;">'Don't Pay Them No Mind'</span></a>, 'Let's Start All Over Again', 'Maybe You'll Be There', and 'Wine in the Wind'. Blessed with a wide and secure vocal range, Margie is capable of the belting approach or of the tender whisper. Sadly, she left music permanently in 1969 due to a serious illness. I included here as <strong>bonus tracks 18</strong> of the R&B songs she recorded during the '50s, both solo and with different groups, like the Blues Destroyers and the Griffin Brothers. Titles include <a href="http://www.youtube.com/watch?v=IXt_naeOP6w"><span style="color:#3333ff;">'Pitty Pat Band'</span></a>, 'Little Red Rooster', <a href="http://www.youtube.com/watch?v=ImEagxgfRDw"><span style="color:#3333ff;">'Ho Ho'</span></a>, 'Stubborn As a Mule' and <a href="http://www.youtube.com/watch?v=q02I1quOM3Y"><span style="color:#3333ff;">'Take Out Your False Teeth Daddy'</span></a>. http://www.dustygroove.com/, http://www.answers.com/<br /><span style="color:#ffffff;">aa</span></div><div align="justify"><span style="font-family:times new roman;font-size:78%;color:#3333ff;"><strong>Margie Day: Ever Livin' Lovin' Program Plan (1969)</strong></span></div><div align="justify"><object id="divplaylist" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="335" height="28"><param name="_cx" value="8863"><param name="_cy" value="740"><param name="FlashVars" value=""><param name="Movie" value="http://www.divshare.com/flash/playlist?myId=10024207-8e6"><param name="Src" value="http://www.divshare.com/flash/playlist?myId=10024207-8e6"><param name="WMode" value="Window"><param name="Play" value="-1"><param name="Loop" value="-1"><param name="Quality" value="High"><param name="SAlign" value=""><param name="Menu" value="-1"><param name="Base" value=""><param name="AllowScriptAccess" value=""><param name="Scale" value="ShowAll"><param name="DeviceFont" value="0"><param name="EmbedMovie" value="0"><param name="BGColor" value=""><param name="SWRemote" value=""><param name="MovieData" value=""><param name="SeamlessTabbing" value="1"><param name="Profile" value="0"><param name="ProfileAddress" value=""><param name="ProfilePort" value="0"><param name="AllowNetworking" value="all"><param name="AllowFullScreen" value="false"><br /><embed src="http://www.divshare.com/flash/playlist?myId=10024207-8e6" width="335" height="28" name="divplaylist" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com3tag:blogger.com,1999:blog-844066150003059872.post-63181423289130740432010-01-03T01:01:00.001-08:002010-01-08T02:08:14.872-08:00Sounds of the City Experience: Sounds of the City Experience (1976)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBwoEMwAVekSFndKYMRBcI4Vps3FnwJblT1nfa16haUUgQmU4LV-moM9z-DpoxTkbVW7r0foEjGKYKwm5KJJvXYGM6wkGWorfv2AEbC5qOpQ3vhK8FFCJyeASOhUq1CKL3GUI_Gwm_mBo/s1600-h/113926110.jpg"><img id="BLOGGER_PHOTO_ID_5422468885606243506" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 199px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBwoEMwAVekSFndKYMRBcI4Vps3FnwJblT1nfa16haUUgQmU4LV-moM9z-DpoxTkbVW7r0foEjGKYKwm5KJJvXYGM6wkGWorfv2AEbC5qOpQ3vhK8FFCJyeASOhUq1CKL3GUI_Gwm_mBo/s200/113926110.jpg" border="0" /></a>Sounds of the City Experience is a group even rarer than the Jackson Sisters. They released this excellent - and super obscure - funk soul album pressed in 1976 on the famous tax scam label Tiger Lily, featuring a whole lot of gems, including some blaxsploitation instrumental grooves like 'Getting Down'. Reissue is long overdue.<br /><span style="color:#ffffff;">aa </span><span style="color:#ffffff;"><br /></div><div align="center"></span>Side 1<br />1. Getting Down<br />2. <a href="http://www.supload.com/listen?s=1pjUyN"><span style="color:#3333ff;">Through No Fault of Our Own</span></a><br />3. It's So Wonderful Baby/Gina<br />4. <a href="http://www.supload.com/listen?s=gDazIz"><span style="color:#3333ff;">Come on and Stay with Me</span></a><br />5. Stuff N' Thing<br /><br />Side 2<br />1. Keep on Keepin' On<br />2. <a href="http://www.supload.com/listen?s=2tqGNa"><span style="color:#3333ff;">Babylon</span></a><br />3. Reality<br />4. <a href="http://www.supload.com/listen?s=nlfJmP"><span style="color:#3333ff;">Judgement Day</span></a><br />5. My People<br /><span style="color:#ffffff;">aa</span></div><div align="justify"><span style="font-family:times new roman;font-size:78%;color:#3333ff;"><strong>Sounds of the City Experience: Keep On Keepin' On</span></strong></div><div align="justify"><strong><object id="divplaylist" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=" height="28" width="335" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000"><param name="_cx" value="8864"><param name="_cy" value="741"><param name="FlashVars" value=""><param name="Movie" value="http://www.divshare.com/flash/playlist?myId=10071522-7bb"><param name="Src" value="http://www.divshare.com/flash/playlist?myId=10071522-7bb"><param name="WMode" value="Window"><param name="Play" value="-1"><param name="Loop" value="-1"><param name="Quality" value="High"><param name="SAlign" value=""><param name="Menu" value="-1"><param name="Base" value=""><param name="AllowScriptAccess" value=""><param name="Scale" value="ShowAll"><param name="DeviceFont" value="0"><param name="EmbedMovie" value="0"><param name="BGColor" value=""><param name="SWRemote" value=""><param name="MovieData" value=""><param name="SeamlessTabbing" value="1"><param name="Profile" value="0"><param name="ProfileAddress" value=""><param name="ProfilePort" value="0"><param name="AllowNetworking" value="all"><param name="AllowFullScreen" value="false"><embed src="http://www.divshare.com/flash/playlist?myId=10071522-7bb" width="335" height="28" name="divplaylist" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></object><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/k456Nu3mJsk&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/k456Nu3mJsk&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div></strong>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com6tag:blogger.com,1999:blog-844066150003059872.post-61556563662982844572009-12-28T03:53:00.000-08:002009-12-28T03:55:46.955-08:00Doris: Did You Give The World Some Love Today Baby (1970) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJWWa0hNuiRf1KgnHoWj4IlNGeAuFrvvoEC1x1m4w7PGIzlTeouBrlyUbE2RAP7ke-IzMAjdbHyyBfZQORVwZcZ0lN5Q9Ata7jSoStK3k7UYylCvB0nChyphenhyphenw_3JZ70zZJPMeLohkuq1_M/s1600-h/Front.jpg"><img id="BLOGGER_PHOTO_ID_5412819951330488610" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJWWa0hNuiRf1KgnHoWj4IlNGeAuFrvvoEC1x1m4w7PGIzlTeouBrlyUbE2RAP7ke-IzMAjdbHyyBfZQORVwZcZ0lN5Q9Ata7jSoStK3k7UYylCvB0nChyphenhyphenw_3JZ70zZJPMeLohkuq1_M/s200/Front.jpg" border="0" /></a>A big-voiced blue-eyed soul, jazz, and pop vocalist reminiscent of Lulu, Dusty Springfield, and Petula Clark, Sweden's Doris Svensson is best known for her lone solo LP, 1970's eclectic Did You Give the World Some Love Today Baby, which made few waves on its initial release but became a favorite of rare groove crate-diggers as time went on. Born in Gothenburg in 1947, Svensson performed with several bands throughout the '60s, making her debut with the Strangers in 1960 and going on to score hits in the groups Plums (<a href="http://www.youtube.com/watch?v=iU1AKFaQP68"><span style="color:#3333ff;">'Mama Didn't Lie,'</span></a> 'Wouldn't That Be Groovy' - the latter with a promo video directed by a young Lasse Hallström) and the Dandys (<a href="http://www.goear.com/listen/bcc735b/Go-Back-to-Daddy-doris"><span style="color:#3333ff;">'Go Back to Daddy'</span></a>) late in the decade. Doris (as she was billed) cut her first and only album for EMI/Odeon with several noted local musicians, including jazz pianist, organist, composer, and<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL4ZEshWzwKapr7I3xfWMQy4p9-XpvC5tdF1R-SUs5aQ614P6vYFbeQ56PE3e5P_i8WbHaOyY2JBP5N4XWkdohhtjfCmLfkpB69tsEp-S3_VaDb99GLFcbMnwlzBxrGn6mQAaO3dP3zFE/s1600-h/Doris+Svensson.jpg"><img id="BLOGGER_PHOTO_ID_5412820850447440722" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 165px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL4ZEshWzwKapr7I3xfWMQy4p9-XpvC5tdF1R-SUs5aQ614P6vYFbeQ56PE3e5P_i8WbHaOyY2JBP5N4XWkdohhtjfCmLfkpB69tsEp-S3_VaDb99GLFcbMnwlzBxrGn6mQAaO3dP3zFE/s200/Doris+Svensson.jpg" border="0" /></a> producer Berndt Egerbladh, who also wrote most of the tunes; drummer and film actor Janne "Loffe" Carlsson of the instrumental jazz-rock duo Hansson & Karlsson; and her husband, bassist Lucas Lindholm. Did You Give the World Some Love Today Baby reveals Doris to be a singer of considerable range with plenty of personality. She's a throaty belter on the funky, country-inflected <a href="http://www.youtube.com/watch?v=DWsFj6ZoT64"><span style="color:#3333ff;">'Waiting at the Station,'</span></a> the Northern soul-styled groovers <a href="http://www.youtube.com/watch?v=wEmCS9wO4Cw"><span style="color:#3333ff;">'Don't'</span></a> and <a href="http://www.youtube.com/watch?v=pa3G8rm0Lk8"><span style="color:#3333ff;">'Beatmaker,'</span></a> and the brassy pop-soul title tune (even coming off a bit worryingly unhinged as she exhorts "you've got to love the one you love/and the whole darn world as well") - but she scales back the fireworks for sweet, if somewhat fey, ballads like <a href="http://www.youtube.com/watch?v=PDhkzCfk0Pw"><span style="color:#3333ff;">'Grey Rain of Sweden'</span></a> and 'Daisies,' which call to mind the sophisticated songwriter pop of fellow lost gem Margo Guryan. There's also a heartfelt, tastefully orchestrated rendition of the Band's 'Whispering Pines,' and - easily the album's most unusual moment - the bizarre, unsettling jazz-psychedelia of <a href="http://www.youtube.com/watch?v=4KH1WKK7aJo"><span style="color:#3333ff;">'You Never Come Close,'</span></a> which sounds like nothing you'd expect to hear on an <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPEFFoFEWbvmd7lNW_8cdgJq0oRxnr1Ocak_aZn25QOHAIgSUv8G6yXHqGn4uX12A7tRBIrGUAkb5kIL4IuKE4m5r4Zf6M30362zg80FQwUAlePxVBIyLT2WSBYCHKVXvgYsBoE1t6Wo/s1600-h/Doris+Svensson+2.jpg"><img id="BLOGGER_PHOTO_ID_5420248580514783474" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPEFFoFEWbvmd7lNW_8cdgJq0oRxnr1Ocak_aZn25QOHAIgSUv8G6yXHqGn4uX12A7tRBIrGUAkb5kIL4IuKE4m5r4Zf6M30362zg80FQwUAlePxVBIyLT2WSBYCHKVXvgYsBoE1t6Wo/s200/Doris+Svensson+2.jpg" border="0" /></a>ostensibly pop record from any era. Add in a smattering of upbeat big-band swing tunes ('I'm Pushing You Out' and the organ-led shuffle <a href="http://www.youtube.com/watch?v=O3gl4VjfJLY"><span style="color:#3333ff;">'I Wish I Knew'</span></a>), the goofy, vaudeville-ish <a href="http://www.youtube.com/watch?v=eZRSBbnWjpM"><span style="color:#3333ff;">'Won't You Take Me to the Theatre,'</span></a> and a jaunty cover of Harry Nilsson's <a href="http://www.youtube.com/watch?v=t__8CCX_SDs"><span style="color:#3333ff;">'Bath,'</span></a> and you've got a true smorgasbord. Although the album sold poorly and Svensson retreated from the limelight - playing in a dansband with her husband during the '70s before retiring from music altogether - those last three cuts, in particular, piqued the interest of record collectors over the ensuing decades, eventually creating enough demand to warrant several reissues in the '90s and '00s. This one features <strong>ten bonus tracks</strong> by the bands Doris sang with in the mid-to late '60s, including several Swedish hit singles. http://www.allmusic.com/</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="132" width="353"><embed src="http://www.goear.com/files/external.swf?file=b4459c0" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/NG05ZBxv8uY&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/NG05ZBxv8uY&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com4tag:blogger.com,1999:blog-844066150003059872.post-45068363871007939372009-12-18T08:36:00.000-08:002009-12-18T08:38:32.644-08:00The Soul Sisters: I Can't Stand It (1964-1968)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPX3oNOvsnZMmIzLrwV1Nmbz526OOkpt0k8PRD9pDiFxVxa9exrtM1ahhSQ1ckOSBdtWAAnyAuRqVrsugMSZSrx19SWSOF3wmAdS0hY2mCMnYaFhrSQNJMdGzcHNVF6x5JydNBOC0fA2Y/s1600-h/Dibujo.bmp"><img id="BLOGGER_PHOTO_ID_5306814248851409810" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 198px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPX3oNOvsnZMmIzLrwV1Nmbz526OOkpt0k8PRD9pDiFxVxa9exrtM1ahhSQ1ckOSBdtWAAnyAuRqVrsugMSZSrx19SWSOF3wmAdS0hY2mCMnYaFhrSQNJMdGzcHNVF6x5JydNBOC0fA2Y/s200/Dibujo.bmp" border="0" /></a>While not being biological sisters, these two sure had the "connected" duo thing happening well! Tresia Cleveland and Ann Gissendanner, known as The Soul Sisters, first came to national attention with their pulsating, rock-a-twist rendition of 'I Can't Stand It', in 1964. As a result of this outstanding debut, the girls became one of the most successful, fast-rising groups in the country. An appearance on the Steve Allen network TV'er was received with the utmost enthusiasm. Prior to that they were building fine reps appearing at such famed spot as the Baby Grand in NY and Brooklyn, the Town Hill Key Club in Newark, the Playboy Lounge, Basin Street South and Boston's Louis Lounge. Before that it was strictly gospel engagements throughout the USA and abroad, receiving return engagement request everywhere they sang. After that promising single, they continued recording done-up Blues, R'n'B, Pop and some Gospel-flavored singles, plus an LP for Sue Records, from 1964 to 1968. This 1996 Collectables' compilation reissues that 1964 Sue album, plus some other singles. Included are <a href="http://www.goear.com/listen/d766707/Good-Time-Tonight-Soul-Sisters"><span style="color:#3333ff;">'Good Time Tonight'</span></a>, a bright, medium beat driver; 'Night Time', a potent affair that they stroll through with beat-ballad finesse and 'Loop De Loop', which opens in sermon-like manner and then breaks into a sparkling thump-a-rhythm cha cha that sports a 'Saturday Nite Party' atmosphere. It's an oh-so-soft, slow beat cha cha for the gals on the tender sentimental opus, <a href="http://www.goear.com/listen.php?v=3894b87"><span style="color:#3333ff;">'Foolish Dreamer'</span></a>. And you may never have enjoyed 'Blueberry Hill' as much as you will when you hear their captivatingly slow, waltz-beat-ballad interpretation. I'm sure that after you've heard the collection contained herein you'll agree that each tune is a gem and that whether they're done-up blues, rhythm, & blues, popular or gospel, you are listening to from the Soul, Soul Sisters style.~ Taken from the original liner notes by Gene Redd.</div><div align="justify"><span style="color:#ffffff;">aa<br /><span class="Apple-style-span" style="COLOR: rgb(0,0,0)"><object height="132" width="353"><embed src="http://www.goear.com/files/external.swf?file=e076888" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></span></span></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com2tag:blogger.com,1999:blog-844066150003059872.post-21789195733681535132009-12-15T00:12:00.001-08:002009-12-15T00:12:47.061-08:00Cilla Black: The Abbey Road Decade - The Complete Single A&B Sides (1963-1973)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqftH9QSjNnvKXwkesZki-XDQLT4LP-0DozFaOKpu4Np-SU0rxN7U_GL0-tUiF7-Gtc_XnYH4ACVnaH86kxVNFM84IAAIuNrLNCBZZ-RGR2qCXcSntYtI8jtCPwEU_6eU4Ybl5ueKipDI/s1600-h/Front.jpg"><img id="BLOGGER_PHOTO_ID_5412457634252386962" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 196px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqftH9QSjNnvKXwkesZki-XDQLT4LP-0DozFaOKpu4Np-SU0rxN7U_GL0-tUiF7-Gtc_XnYH4ACVnaH86kxVNFM84IAAIuNrLNCBZZ-RGR2qCXcSntYtI8jtCPwEU_6eU4Ybl5ueKipDI/s200/Front.jpg" border="0" /></a>Who was the second biggest selling music star to come out of Liverpool after the Beatles? It wasn't Gerry & the Pacemakers or Billy J. Kramer & the Dakotas, nor was it the Searchers. It was Cilla Black, a one-time coat-check girl from the Cavern Club who was still learning to sing with confidence, forget developing a technique, just about the time that the Beatles were cutting their first EMI record. She appeared as guest singer with various groups at the Cavern in 1963, and was brought to the attention of Brian Epstein, who during the next few years ably exploited her girl-next-door appeal. Her first single, under the auspices of producer George Martin, was a brassy powerhouse reworking of the Beatles’ unreleased <a href="http://www.youtube.com/watch?v=lDPmN4-fPXI"><span style="color:#3333ff;">'Love of the Loved'</span></a>, which reached the UK Top 40 in late 1963. A change of style with Burt Bacharach’s <a href="http://www.youtube.com/watch?v=sZury-SGt_g"><span style="color:#3333ff;">'Anyone Who Had a Heart'</span></a> saw Black emerge as a ballad singer of immense power and distinction. <a href="http://www.youtube.com/watch?v=ttTZL8YPXls"><span style="color:#3333ff;">'You’re My World'</span></a>, a translation of an Italian lyric, was another brilliantly orchestrated, impassioned ballad that, like its predecessor, dominated the UK number 1 position in 1964. In what was arguably the most competitive year in British pop history, Black was outselling all her Merseyside rivals except the Beatles. For her fourth single, Paul McCartney presented <a href="http://www.youtube.com/watch?v=qenVKXyWWHw"><span style="color:#3333ff;">'It’s for You'</span></a>, a fascinating jazz waltz ballad that seemed a certain number 1, but it stalled at number 8. By the end of 1964, Black was one of the most successful female singers of her era and continued to release cover versions of superb quality, including the Righteous Brothers’ <a href="http://www.youtube.com/watch?v=z0HaJcirCVI"><span style="color:#3333ff;">'You’ve Lost That Lovin’ Feelin’'</span></a>. A consummate rocker and unchallenged mistress of the neurotic ballad genre, Black was unassailable at her pop peak, yet her chosen path was that of an ‘all-round entertainer’. For most of 1965, she ceased recording and worked on her only feature film, <a href="http://www.youtube.com/watch?v=0qHLurofiPs"><span style="color:#3333ff;">Work Is a Four Letter Word</span></a>, but <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2y6sWIbfVv04quCpAimimlNMK8VvaqWJbC4W4tcyBvd9Ov90SeRWHTFNBwoZ2BOcJRf67oBmu5EcCTYYSygwqXSerRQctGbO6sUpRUjUElSKZ7FCkCrwMRRTu_a7D5jlPpYSepeDPgA/s1600-h/Inside.jpg"><img id="BLOGGER_PHOTO_ID_5412477309366768466" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 199px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC2y6sWIbfVv04quCpAimimlNMK8VvaqWJbC4W4tcyBvd9Ov90SeRWHTFNBwoZ2BOcJRf67oBmu5EcCTYYSygwqXSerRQctGbO6sUpRUjUElSKZ7FCkCrwMRRTu_a7D5jlPpYSepeDPgA/s200/Inside.jpg" border="0" /></a>returned strongly the following year with <a href="http://www.youtube.com/watch?v=ZUyu74oIOmA"><span style="color:#3333ff;">'Love’s Just a Broken Heart'</span></a> and 'Alfie'. The death of Brian Epstein in 1967 and a relative lull in chart success might have blighted the prospects of a lesser performer, but Black was already moving into television work, aided by her manager/husband Bobby Willis. Her highly rated television series was boosted by the hit title theme <a href="http://www.youtube.com/watch?v=ejETuv7OEb8"><span style="color:#3333ff;">'Step Inside Love'</span></a>, donated by Paul McCartney. Throughout the late '60s, she continued to register Top 10 hits, including <a href="http://www.youtube.com/watch?v=QsCUhL623oE"><span style="color:#3333ff;">'Surround Yourself with Sorrow'</span></a>, <a href="http://www.youtube.com/watch?v=x2uPOdsGx0w"><span style="color:#3333ff;">'Conversations'</span></a> and the dreadful <a href="http://www.youtube.com/watch?v=zgwo7ZfeZI0"><span style="color:#3333ff;">'Something Tells Me (Something Is Gonna Happen Tonight)'</span></a>. Like many of her contemporaries, Black wound down her recording career in the '70s and thenceforth she basically concentrated on television. The material on this 3-cd collection features all of the aforementioned Black's hits, B-sides, and album tracks; also, disc three is made up entirely of rarities, including some surprising demos like 'Step Inside Love', from 1968, with Paul McCartney accompanying her on acoustic guitar. There's also Black's original rehearsal cut of the Cavern-styled 'A Shot of R&B'; a surviving acetate of 'Fever,' accompanied by Gerry & the Pacemakers; plus her unissued versions of 'Heatwave' and 'Shotgun.' Coupled with some good arrangements and George Martin's crisp production, Cilla Black's music holds up astonishingly well and she displays a surprisingly soulful approach on songs such as <a href="http://www.youtube.com/watch?v=oQjUfZ2ljaI"><span style="color:#3333ff;">'Is It Love'</span></a>, <a href="http://www.youtube.com/watch?v=lqbLUj78YBE"><span style="color:#3333ff;">'For No One,'</span></a> <a href="http://www.youtube.com/watch?v=OiEIc46KKLM"><span style="color:#3333ff;">'What Good Am I'</span></a> and Randy Newman's <a href="http://www.goear.com/listen/303524c/I´ve-been-wrong-before-cilla-black"><span style="color:#3333ff;">'I’ve Been Wrong Before'</span></a>. http://www.allmusic.com/, http://www.oldies.com/<br /><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=fb85160" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><a href="http://www.goear.com/listen/fb85160/On-a-Street-Called-Hope-Cilla-Black"></a></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Cilla Black with Burt Bacharach cutting 'Alfie' at Abbey Road, in 1965 :</div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/Jj7-saWB4eQ&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/Jj7-saWB4eQ&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Cilla Black with Sounds Incorporated at the New Musical Express Poll Winners concert singing 'Zip-A-Dee-Doo-Dah', 1965:<br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/T6x3V3qQZy0&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/T6x3V3qQZy0&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">With Cliff Richard performing 'The Look of Love' and 'Walk on By', in 1969:</div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/X3W2SKkdytk&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/X3W2SKkdytk&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com5tag:blogger.com,1999:blog-844066150003059872.post-13691845106604717402009-12-10T04:25:00.000-08:002009-12-10T04:33:17.210-08:00Nella Dodds: The Complete Wand Recordings (1964-1965)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAJD2KEyRZJ8iBPlkOpSDxDa5C39-iEIo8VssfD3MDY9Y8J427PrDupsw6KjnhGjibQnYY4PmFHBtuJW_gYAcN4OZlNCUjoqPjy67sOxqcbPcElymZPZ8AKGfyZ7R5eVKk8ZH1K4LXj1s/s1600-h/VJstory_Page_01.jpg"><img id="BLOGGER_PHOTO_ID_5327518997655702354" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 198px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAJD2KEyRZJ8iBPlkOpSDxDa5C39-iEIo8VssfD3MDY9Y8J427PrDupsw6KjnhGjibQnYY4PmFHBtuJW_gYAcN4OZlNCUjoqPjy67sOxqcbPcElymZPZ8AKGfyZ7R5eVKk8ZH1K4LXj1s/s200/VJstory_Page_01.jpg" border="0" /></a>The combination of her unusual, highly beguiling voice, some excellent songs and corking dance grooves make the recordings of Nella Dodds have charmed collectors of Northern Soul and girl groups for more than 35 years. Nella should, by rights, have had an album release in the mid-‘60s, when she was signed to New York’s Wand label via a production deal with Philadelphia’s Dyno-Dynamic Productions -essentially the precursor of what would eventually evolve into classic 1970s ‘Philly Sound’. She should also have had several major hits, rather than just the two fair to middling ones that she did have. But by the time that Philadelphia usurped Detroit as the epicentre of commercial Soul music, Nella Dodds had forsaken music for domesticity, destined to be regarded as another ‘great unknown’. Both sides of all six singles Dodds released on Wand between 1964 and 1965 are on this compilation, along with three outtakes from the same era, which have never been heard in public since the day they were recorded. Besides Nella, others who participated in these sessions include musicians who went on to form the core of MFSB, legendary Philly DJ/songwriter Jimmy Bishop (discoverer of and mentor to a host of other Philadelphia soul greats, most notably Barbara Mason) and Philadelphia International co-founder Kenneth Gamble, who wrote many of the songs. As well as Nella’s hit cover of the Supremes’ <a href="http://www.youtube.com/watch?v=Yb6I6Cn8AMw"><span style="color:#3333ff;">'Come See About Me'</span></a> (a song that made it up to number 74 in the charts) and its Top 100 follow-up 'Finders Keepers, Losers Weepers', this great collection features the Northern Soul favourites <a href="http://www.youtube.com/watch?v=tZA-NRJ5WRU"><span style="color:#3333ff;">'Come Back Baby'</span></a>, <a href="http://www.youtube.com/watch?v=ytnLNGFAcZU"><span style="color:#3333ff;">'Honey Boy'</span></a>, <a href="http://www.youtube.com/watch?v=Oc9DEPvff9c"><span style="color:#3333ff;">'First Date'</span></a> and <a href="http://www.youtube.com/watch?v=88qvowphP-8"><span style="color:#3333ff;">'Maybe Baby'</span></a>. It also includes what is probably the best cut on the set: Gamble’s moody ballad ‘You Don't Love Me Anymore’ which, sadly wasted on the B-side of ‘Come See About Me,’ sounds like a cross between Dionne Warwick and mid-'60s girl groups. All in all, this is a consistently enjoyable retrospective of an underrated singer who deserved more than she got. http://www.allmusic.com/, http://www.acerecords.co.uk, http://www.amazon.co.uk/ </div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/9Ls-nDpb-0E&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/9Ls-nDpb-0E&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com3tag:blogger.com,1999:blog-844066150003059872.post-32005148728215816152009-12-07T03:21:00.001-08:002009-12-07T03:25:08.600-08:00Yma Sumac: Her Best Albums from the '50s (1950-1957)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3iSvJlfYCtQYOVyRt-I1TFwXtNpoNEnrziloJFEiL98MH3yMzShMdeC-LzQPDzAkZCdklN8OMCrnty2Coh7z8pEhwm-rOGFAlz-AsPp37IwZiaLH9oanNZyrQo9IKmC0TYzG1q0-AMw/s1600/Front.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5409854853721655730" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3iSvJlfYCtQYOVyRt-I1TFwXtNpoNEnrziloJFEiL98MH3yMzShMdeC-LzQPDzAkZCdklN8OMCrnty2Coh7z8pEhwm-rOGFAlz-AsPp37IwZiaLH9oanNZyrQo9IKmC0TYzG1q0-AMw/s200/Front.JPG" /></a>The only singer known to possess close to a staggering 5 octave voice, Yma Sumac was said to have been a descendant of Inca kings, an Incan princess that was one of the Golden Virgins. Her offbeat stylings became a phenomenon of early-'50s pop music. While her album covers took advantage of her strange costumes and voluptuous figure, rumors abounded that she was, in actuality, a housewife named Amy Camus. It mattered little because there has been no one like her before or since in the annals of popular music. According to the Sumac legend, she was the sixth child of an Indian mother and an Indian/Spanish father, who raised her as a Quechuan. She began performing in local festivals before her<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMor3kkZIGpkbKokc0SoSCFby9CLdg8k7A5RLOzEgHoRu8ofNx6CLHKiriKes9UHwp2wZsKg4QXcCuv25zbyNivyEyc_wRUvwsYD9yRhynShL_qWZpSgc56pA9qGGQWBa9iJRa9AKPVhs/s1600/Front.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5409857727588949858" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMor3kkZIGpkbKokc0SoSCFby9CLdg8k7A5RLOzEgHoRu8ofNx6CLHKiriKes9UHwp2wZsKg4QXcCuv25zbyNivyEyc_wRUvwsYD9yRhynShL_qWZpSgc56pA9qGGQWBa9iJRa9AKPVhs/s200/Front.jpg" /></a> family moved to Lima, Peru. Once she was in Lima, she became a member of the Compania Peruana de Arte, which was a collective of nearly 50 Indian singers, musicians, and dancers. Sumac married Moises Vivanco,<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirBtSvyYJYlU-xLu9d2BmXxFtql42hQ2mOBQbFdfs3sRZr5luf3KoTQ_pD6PVhJTy19PWTHYhyr1zvRLSMqt4QJEUv58Wur38Rxy5ByGYKFKY2QLoc6e6u4Zwea-JjArLiailtM6_Q6Ts/s1600/Front.jpg"></a> the leader of the Compania, in 1942. Four years later, Vivanco, Sumac, and her cousin Colita Rivero formed the Inca Taqui Trio and moved to New York. By the end of the decade, they were performing in nightclubs throughout New York and playing radio and television programs, most notably Arthur Godfrey's TV show. The Trio also became a fixture on the Borscht Belt circuit and the Catskills. Sumac was signed as a solo artist to Capitol Records in 1950, releasing her first <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkkkPH1wiQAti6pMxCn-nPgPdhc5L8R1hAEp9D_Ag4zlIFgdm_fkoSnyDuWFuARSH8QP_byzkzHskW7S_Ed9VD2zax_6sd96E2oqPqCzowbLCDuH0I4zQH4Bw4wpC0f4ztOP23ULPyWRE/s1600/o224145.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5409857222511240642" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkkkPH1wiQAti6pMxCn-nPgPdhc5L8R1hAEp9D_Ag4zlIFgdm_fkoSnyDuWFuARSH8QP_byzkzHskW7S_Ed9VD2zax_6sd96E2oqPqCzowbLCDuH0I4zQH4Bw4wpC0f4ztOP23ULPyWRE/s200/o224145.jpg" /></a>album, the 10" Voice of the Xtabay, the same year. Voice of the Xtabay was released without much publicity, but it slowly became a hit and Capitol began pushing Sumac with a massive marketing campaign. The album was one of Sumac's least hokey or pop-oriented. That's not to say it's without its mass-appeal elements, especially in the arrangements, conducted by Les Baxter. The reissue I included here combines the eight tracks with the eight others contained on another of her early albums, Inca Taqui (1953). Legend of the Sun Virgin, released a year before, in 1952, displayed her characteristic mixture of Andean folk music, flamenco guitars and dramatic invocations to obscure pre-Columbian idols. Capitol got on top of<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9kLJ5GuzeCt1x9oBmSa6eUAk0HcFLfUacXsfRrcIjtfPP2OTequ2ehXDQvC-Fq9Md5qwlmmLVyzZ2_xQqfu-3s8UMZzN1sW3IIL9gPzaNk5j1XnhTzQ-x4o42Ihs2SBOHg3mYOURzRVk/s1600/Front.JPG"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 200px; FLOAT: right; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5409857964794602002" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9kLJ5GuzeCt1x9oBmSa6eUAk0HcFLfUacXsfRrcIjtfPP2OTequ2ehXDQvC-Fq9Md5qwlmmLVyzZ2_xQqfu-3s8UMZzN1sW3IIL9gPzaNk5j1XnhTzQ-x4o42Ihs2SBOHg3mYOURzRVk/s200/Front.JPG" /></a> two '50s fads at once by issuing Mambo! (1954), an album of Sumac tackling, well ... mambo. Yma held nothing back, and the result was one of her more enjoyable LPs, with respectably swinging mambo grooves crafted by Billy May. <a href="http://www.goear.com/listen/a7ed5a0/-yma-sumac"><span style="color:#3333ff;">'Five Bottles Mambo'</span></a> is one of her most astonishing vocal workouts, dropping into guttural growls that are downright bestial, and making one wonder how exactly they got away with that in the conservative milieu of the '50s. Her next album was Legend of the Jivaro, in 1957. According to the liner notes, Sumac and Vivanco, went into the headhunting territory of the Jivaros, tape recorder in hand, to accumulate source material for this album. Whether you believe that or not, what they came up with <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWsUQBDLre8JFd4_l3YNm3KGrhgMmMstld1innZIXZ7lPu9QA_V_xbd9RIUU189BqJRsmawBfJa1s5g_6s1c_xcpyE-4QO-ZOAhZYq7GpMj1AnpmZ6Pulnp5GyhkT75am5SFXu8bP5fXY/s1600/Front.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 184px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5409858760379704370" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWsUQBDLre8JFd4_l3YNm3KGrhgMmMstld1innZIXZ7lPu9QA_V_xbd9RIUU189BqJRsmawBfJa1s5g_6s1c_xcpyE-4QO-ZOAhZYq7GpMj1AnpmZ6Pulnp5GyhkT75am5SFXu8bP5fXY/s200/Front.JPG" /></a>once it had been run through the studio was one of her chintzier products. If it's folk music, it's been heavily modified for North American audiences, with period '50s pop production, mainstream Latin pop influences, and occasional spurts of quasi-rock'n'roll guitar. By the end of the '50s, Sumac's audience had begun to decline though, and she was no longer as hip as she was before. She retired in the early '60s, performing just sporadically the next three decades. http://www.allmusic.com/</div><p><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=068da03" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></p><p><span style="color:#ffffff;"><span style="color:#000000;">Yma Sumac, The Secret of the Incas, performing 'Tumpa':<br /></span></span></p><p><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/R-C7jZfAQ34&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/R-C7jZfAQ34&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></p><p>Singing live 'Amor Indio':<br /></p><p><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/mGw1wFsvBfI&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><br /><embed src="http://www.youtube.com/v/mGw1wFsvBfI&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></p>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com3tag:blogger.com,1999:blog-844066150003059872.post-65569992630986278132009-12-04T03:53:00.000-08:002009-12-04T07:03:15.312-08:00Manifiesto “En defensa de los derechos fundamentales en internet”<p align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnch3mAh-tpkpy9OmK8V2Ah0udgIxx0d6O0whxh2r3JPWIMf9Ai9Gt0H6JnG2iYe9i0Z8aCUlagRuvM2YrifA_2UwjosZC5fBCSUA2Rp7kCIKHXq1if1AAyo3_-ENPL8GYpmRS5g4ykoY/s1600-h/bloqueado.gif"><img id="BLOGGER_PHOTO_ID_5411349989598017298" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 156px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnch3mAh-tpkpy9OmK8V2Ah0udgIxx0d6O0whxh2r3JPWIMf9Ai9Gt0H6JnG2iYe9i0Z8aCUlagRuvM2YrifA_2UwjosZC5fBCSUA2Rp7kCIKHXq1if1AAyo3_-ENPL8GYpmRS5g4ykoY/s200/bloqueado.gif" border="0" /></a>Ante la inclusión en el <a href="http://www.diariocritico.com/imagenesPieza/30-11-09%20%20LEY%20ECONOMIA%20SOSTENIBLE%20doc(3).pdf"><span style="color:#3333ff;">Anteproyecto de Ley de Economía sostenible</span></a> de modificaciones legislativas que afectan al libre ejercicio de las libertades de expresión, información y el derecho de acceso a la cultura a través de Internet, los periodistas, bloggers, usuarios, profesionales y creadores de internet manifestamos nuestra firme oposición al proyecto, y declaramos que…<br /><br />1.- <strong>Los derechos de autor no pueden situarse por encima de los derechos fundamentales de los ciudadanos</strong>, como el derecho a la privacidad, a la seguridad, a la presunción de inocencia, a la tutela judicial efectiva y a la libertad de expresión.<br /><br />2.- <strong>La suspensión de derechos fundamentales es y debe seguir siendo competencia exclusiva del poder judicial. Ni un cierre sin sentencia.</strong> Este anteproyecto, en contra de lo establecido en el <a href="http://narros.congreso.es/constitucion/constitucion/indice/sinopsis/sinopsis.jsp?art=20&tipo=2"><span style="color:#3333ff;">artículo 20.5 de la Constitución</span></a>, pone en manos de un órgano no judicial – un organismo dependiente del ministerio de Cultura -, la potestad de impedir a los ciudadanos españoles el acceso a cualquier página web.<br /><br />3.- <strong>La nueva legislación creará inseguridad jurídica en todo el sector tecnológico español</strong>, perjudicando uno de los pocos campos de desarrollo y futuro de nuestra economía, entorpeciendo la creación de empresas, introduciendo trabas a la libre competencia y ralentizando su proyección internacional.<br /><br />4.- <strong>La nueva legislación propuesta amenaza a los nuevos creadores y entorpece la creación cultural.</strong> Con Internet y los sucesivos avances tecnológicos se ha democratizado extraordinariamente la creación y emisión de contenidos de todo tipo, que ya no provienen prevalentemente de las industrias culturales tradicionales, sino de multitud de fuentes diferentes.<br /><br />5.- <strong>Los autores, como todos los trabajadores, tienen derecho a vivir de su trabajo con nuevas ideas creativas</strong>, modelos de negocio y actividades asociadas a sus creaciones. Intentar sostener con cambios legislativos a una industria obsoleta que no sabe adaptarse a este nuevo entorno no es ni justo ni realista. Si su modelo de negocio se basaba en el control de las copias de las obras y en Internet no es posible sin vulnerar derechos fundamentales, deberían buscar otro modelo.<br /><br />6.- <strong>Consideramos que las industrias culturales necesitan para sobrevivir alternativas modernas, eficaces, creíbles y asequibles</strong> y que se adecuen a los nuevos usos sociales, en lugar de limitaciones tan desproporcionadas como ineficaces para el fin que dicen perseguir.<br /><br />7.- <strong>Internet debe funcionar de forma libre y sin interferencias políticas</strong> auspiciadas por sectores que pretenden perpetuar obsoletos modelos de negocio e imposibilitar que el saber humano siga siendo libre.<br /><br />8.- <strong>Exigimos que el Gobierno garantice por ley la</strong> <a href="http://es.wikipedia.org/wiki/Neutralidad_de_red"><span style="color:#3333ff;">neutralidad de la Red</span> </a><strong>en España</strong>, ante cualquier presión que pueda producirse, como marco para el desarrollo de una economía sostenible y realista de cara al futuro.<br /><br />9.- <strong>Proponemos una verdadera reforma del derecho de propiedad intelectual orientada a su fin</strong>: devolver a la sociedad el conocimiento, promover el dominio público y limitar los abusos de las entidades gestoras.<br /><br />10.- <strong>En democracia las leyes y sus modificaciones deben aprobarse tras el oportuno debate público y habiendo consultado previamente a todas las partes implicadas</strong>. No es de recibo que se realicen cambios legislativos que afectan a derechos fundamentales en una ley no orgánica y que versa sobre otra materia.<br /><br /><em>Este manifiesto, elaborado de forma conjunta por varios autores, es de todos y de ninguno. Si quieres sumarte a él, difúndelo por Internet.</em></p><p align="justify"><strong>ENGLISH TRANSLATION IN COMMENTS.</strong></p>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com4tag:blogger.com,1999:blog-844066150003059872.post-17654742266326406032009-12-03T04:14:00.000-08:002009-12-03T04:35:37.585-08:00Madeline Bell: Bell's a Poppin' (1967) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKZFz86bHKYsN-6GUEJzzsWAkjuRFIHoL-obr1UHxsCl_6LfLisjoWqV7GOmfpSrP0s88qI9YKODoXXmoDklfpzjcraDv7dgAFTZmfewoQwBN0idQpsXyIBTwMDPC4x1kL4xBHwFGQIuc/s1600-h/708363.jpg"><img id="BLOGGER_PHOTO_ID_5303840847475795410" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKZFz86bHKYsN-6GUEJzzsWAkjuRFIHoL-obr1UHxsCl_6LfLisjoWqV7GOmfpSrP0s88qI9YKODoXXmoDklfpzjcraDv7dgAFTZmfewoQwBN0idQpsXyIBTwMDPC4x1kL4xBHwFGQIuc/s200/708363.jpg" border="0" /></a>Though born in New Jersey, smooth soul diva Madeline Bell enjoyed her greatest success in the United Kingdom (where she began living in 1963), and her first album, 1967's Bell's a Poppin', is a thoroughly enjoyable example of British pop record-making at its most poised and professional. Bell had a world-class voice and sang supper-club soul in the manner of Dionne Warwick and Dusty Springfield (the latter of whom was a friend of Bell's and often used her as a backing vocalist). Those looking for Southern soul grit will be disappointed, but Bell's a Poppin' is a marvelous example of the British equivalent of Brill Building pop. The arrangements are clever and sophisticated, the musicians are spot-on throughout, producer John Franz adds just the right amount of polish without rubbing away the personality of the music, and Bell's vocals tell a story just beautifully, boasting smarts and understated passion while maintaining a firm sense of control and balance throughout. Franz also rounded up some great songs for Bell, with Pomus/Shuman, Bacharach/David, John Sebastian, and Ashford/Simpson among the tunesmiths represented on this disc. Highlights include <a href="http://www.youtube.com/watch?v=aXZrZ0-_Ju0"><span style="color:#3333ff;">'You Don't Love Me No More'</span></a>, <a href="http://www.youtube.com/watch?v=nTzgHIUZ81w"><span style="color:#3333ff;">'Beat the Clock'</span></a>, <a href="http://www.youtube.com/watch?v=d5YHPlFcmU8"><span style="color:#3333ff;">'Mr. Dream Merchant'</span></a>, <a href="http://www.youtube.com/watch?v=R5HKmJRo93U"><span style="color:#3333ff;">'Soul Time'</span></a>, and <a href="http://www.youtube.com/watch?v=LbEQEIBN-7U"><span style="color:#3333ff;">'I'm Gonna Make You Love Me'</span></a>. Fans of the slicker side of Northern soul and great mid-'60s pop-soul will delight in Bell's a Poppin'. This reissue adds a handful of non-LP singles that are every bit as enjoyable, especially an interesting cover of the Beatles' 'You Won't See Me' and Baby Washington's <a href="http://www.youtube.com/watch?v=6zNL2Abb_q0"><span style="color:#3333ff;">'I Can't Wait Until I See My Baby's Face'</span></a>. http://www.allmusic.com/</div><div align="justify"><span style="color:#ffffff;">ui</span></div><div align="justify">Madeline Bell perfoming one of the bonus tracks included here, 'Don't Come Running to Me':</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/w4bM50C2ctk&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/w4bM50C2ctk&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div align="justify"></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Clip of Madeline singing Picture Me Gone (1967):<br /></div><br /><div align="justify"></div><embed src="http://www.youtube.com/v/JF9Jd-v1UZA&hl=" width="425" height="344" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" fs="1"></embed>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com1tag:blogger.com,1999:blog-844066150003059872.post-53314100938659153592009-11-28T02:50:00.000-08:002009-11-28T03:00:57.251-08:00Monna Bell: Sus Primeros EP's (1959-61) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3KMzYKKyE39BH486l7IM8wJIdxQLBgJFNjQsL9Elg0g-XvBVWyPa3GMHc1awofTRI5NfKiGCMRf3SQP39aujTF9WI_sNVEYFNR50BDb4ErcacNqCgk0XvnbWNPuSf2r8AoMKazMxtYE/s1600/Front.jpg"><img id="BLOGGER_PHOTO_ID_5407220665652771522" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3KMzYKKyE39BH486l7IM8wJIdxQLBgJFNjQsL9Elg0g-XvBVWyPa3GMHc1awofTRI5NfKiGCMRf3SQP39aujTF9WI_sNVEYFNR50BDb4ErcacNqCgk0XvnbWNPuSf2r8AoMKazMxtYE/s200/Front.jpg" border="0" /></a>Monna Bell, was born in Chile but settled in Spain in the late '50s and recorded for Hispavox from 1957 through 1967, a period in which she enjoyed immense international popularity. Even though she continued recording in Mexico for the Musart and Orfeon labels, it is her Hispavox recordings that guarantee her place in history forever. This compilation of Monna Bell's legendary recordings gathers a generous amount of her classics, most recorded with orchestras conducted by two Spanish musical geniuses, Augusto Algueró Jr. and Gregorio García Segura, who were also responsible for the arrangements. Here you will find all the songs that made Miss Bell an international sensation including 'Un Telegrama', the jazzy tune that won, thanks to her interpretation, the top spot at the First Song Festival in Benidorm, Spain in 1959. It has been reported that 'Un Telegrama' was recorded more than ninety times by other artists, but Monna's version remains the definite rendition. No wonder if you consider that Miss Bell is one of<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMGjzaOKT3T8IbtWCP5S_I4UJ9l0i7L4d0_CsqmZX38x7zLHiWRf362aReZyL8k7XU1ye4ZDv3FTZBYQrL9I-26kKAnKwi6-3hA_ZWPKZc6-y3FX2vcQhO2yV1TVVq6BublhnBdStMQqg/s1600/Monna+Bell+2.JPG"><img id="BLOGGER_PHOTO_ID_5407316602002504178" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 200px; CURSOR: hand; HEIGHT: 199px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMGjzaOKT3T8IbtWCP5S_I4UJ9l0i7L4d0_CsqmZX38x7zLHiWRf362aReZyL8k7XU1ye4ZDv3FTZBYQrL9I-26kKAnKwi6-3hA_ZWPKZc6-y3FX2vcQhO2yV1TVVq6BublhnBdStMQqg/s200/Monna+Bell+2.JPG" border="0" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFeJ6WffYIghyphenhyphenLE8yERXd5e4GQb7H9qWXEzDH1dShSp4MvTJvoYKLhdDiVfP3dnNCg3Tk9eYZkz8MBxZIg3FPS_9Tjh4_j4mXqiDU6N_OyXCGX8Z4f8-aQ4PAyOq5nR3AuqplhdcwCFY/s1600/Monna+Bell+2.JPG"></a>the few Latin singers that could be considered a true jazz singer. She not only improvised in her interpretations but her phrasing was both impeccable and inventive. She had the rare quality of singing behind the beat to stress a phrase or a word and then speed things up to come back right on place. Her genius made even the most banal tunes like <a href="http://www.goear.com/listen/32c15de/El-Día-de-los-Enamorados-monna-bell"><span style="color:#3333ff;">'El Día de los Enamorados'</span></a> or 'Comunicando' sound interesting, but she was definitely at her best when she transposed her jazz style to ballads such as the mesmerizing <a href="http://www.goear.com/listen/ec4206a/La-montaña-monna-bell"><span style="color:#3333ff;">'La Montaña.'</span></a> Her unique approach is also felt in steamy boleros such as <a href="http://www.goear.com/listen/25ebfba/silencio-corazon-monna-bell"><span style="color:#3333ff;">'Silencio Corazón'</span></a>, 'Aún Te Sigo Amando' or 'Recordaré Tu Amor.' Hear the romance on her voice as she softly utters <a href="http://www.goear.com/listen/7f1fda6/Un-Amor-Inolvidable-monna-bell"><span style="color:#3333ff;">'Un Amor Inolvidable'</span></a>, the love theme from the film 'An Affair to Remember' one of many American tunes she covered in Spanish. She can also sound wicked and mischievous when she attacks samba-flavored tunes <a href="http://www.goear.com/listen/4c2a338/Amor-en-Río-monna-bell"><span style="color:#3333ff;">'Amor en Río'</span></a> or 'Pan, Amor y Besos' and she is delightful doing something so incoherent as <a href="http://www.goear.com/listen/5823716/Domenica-Es-Siempre-Domenica-monna-bell"><span style="color:#3333ff;">'Domenica Es Siempre Domenica,'</span></a> an <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSmlHbWxWtEi372FjS9TVvD1Mylygothpi9cXeY4TxOlqtQCTqFxOaZcH6Na-O2AekoA3wkFux2rpS8_ft25KBanVo-0QsP7u0qTGjAg3k91I5HbEF99DO1mHnEdNdS8xODEjQ5g_wAHw/s1600/Monna+Bell+5.jpg"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaxrM8gQ7g4-EUMwrkOojbMYQM2G8jK9uDGkBik5LbSy_fDNN808_CFfgwwNTPeDrtZfKU2Zo9FpLtzODBQS8iM3gygxkaoQduYgY3thGWtnitN7s6GGuFvxKK195LLgH9XBhESD57aBE/s1600/Monna+Bell+11.jpg"><img id="BLOGGER_PHOTO_ID_5407224804855448386" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaxrM8gQ7g4-EUMwrkOojbMYQM2G8jK9uDGkBik5LbSy_fDNN808_CFfgwwNTPeDrtZfKU2Zo9FpLtzODBQS8iM3gygxkaoQduYgY3thGWtnitN7s6GGuFvxKK195LLgH9XBhESD57aBE/s200/Monna+Bell+11.jpg" border="0" /></a>Italian-Spanish tune that might sound an abomination today, but was quite popular in the late '50s. In short, these collection is the best proof that Monna Bell was a great vocalist who created a style and had a unique sound, unlike the all-alike crap we are being fed today on Spanish-language radio and television. I added as an extra gift a sampling of Monna's '60s repertoire, including jazzy tunes with romantic boleros, European ballads, and those crazy novelty numbers that were so popular then and were probably imposed upon the vocalist by the record producers. Included are 'Chiquitina' and <a href="http://www.youtube.com/watch?v=ppafX0adkFc"><span style="color:#3333ff;">'Tómbola'</span></a> (also recorded by the Spanish child prodigy Marisol), <a href="http://www.youtube.com/watch?v=KNcTOSj0RSg"><span style="color:#3333ff;">'Nubes de Colores'</span></a>, 'La Chica de Ipanema', 'La Playa', <a href="http://www.goear.com/listen/9d9e5bd/Trenes,Barcos-y-Aviones-monna-bell"><span style="color:#3333ff;">'Trenes, Barcos y Aviones'</span></a> and <a href="http://www.goear.com/listen/4d1c820/Estaba-escrito-monna-bell"><span style="color:#3333ff;">'Estaba escrito'</span></a>, a song that was in the OST of the Almodovar's film "Pepi, Luci, Bom y otras chicas del montón". <strong>73 songs in all!!</strong> <em>Partially taken from Marcos' review on http://www.amazon.com/</em><br /><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=7c269eb" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><br /><span style="color:#ffffff;">aa</span><br />Monna Bell performing 'Desafinado'. Excerpt of the Julián Soler's film Buenas Noches, Año Nuevo, from 1964:</div><div align="justify"><br /><embed src="http://www.youtube.com/v/GS_CCFwhls4&hl=" fs="1&" width="425" height="344" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true"></embed></div><br /><div align="justify">Monna Bell singing live 'Rogar' and 'Pequeña Mía':</div><div align="justify"><br /><embed src="http://www.youtube.com/v/5QBevQbtEio&hl=" fs="1&" width="425" height="344" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true"></embed></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com5tag:blogger.com,1999:blog-844066150003059872.post-2021953266305276442009-11-26T03:24:00.000-08:002009-11-26T03:26:41.796-08:00Lori Burton: Breakout (1967) ... plus<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOEAj6aeodZDC09fjd_5HYIjCIgEkx6UZhjsXhTZ1l1NAAYVK1HGyNQ0A9-2a34AJz99CcPXeOtEkZVGb7GPm1s5vRsus3cxvnHBYKUFZnUu_HhsWE9h71HVTCJfVjnawFknltMAE-s4/s1600/710160.jpg"><img id="BLOGGER_PHOTO_ID_5408071965158453474" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOEAj6aeodZDC09fjd_5HYIjCIgEkx6UZhjsXhTZ1l1NAAYVK1HGyNQ0A9-2a34AJz99CcPXeOtEkZVGb7GPm1s5vRsus3cxvnHBYKUFZnUu_HhsWE9h71HVTCJfVjnawFknltMAE-s4/s200/710160.jpg" border="0" /></a>So you think the Shangri-Las were tough and streetwise girls? Well, you ain't heard nothing. The Whyte Boots <a href="http://www.goear.com/listen/505c4b7/Nightmare-lori-burton"><span style="color:#3333ff;">'Nightmare'</span></a> takes the 'Leader of the Pack' scenario to the next level: a girl has been showing off the singer's boyfriend's ring, leading to a vicious catfight in which one of the girls is killed!! Woah! But in reality, the Whyte Boots did not exist, but were a construct of Brill Building hit girls Lori Burton and Pam Sawyer. Together they formed one of the better New York pop/rock songwriting teams of the '60s, although not too many of their songs were widely known hits. Their <a href="http://www.youtube.com/watch?v=HNn7IkH1axc"><span style="color:#3333ff;">'I Ain't Gonna Eat Out My Heart Anymore'</span></a> gave the Rascals their first chart entry; <a href="http://www.youtube.com/watch?v=zwcnRvPOLDw"><span style="color:#3333ff;">'Baby Let's Wait,'</span></a> also done by the Rascals, gave the Royal Guardsmen a hit; Patti LaBelle & the Blue Bells did <a href="http://www.goear.com/listen/bc7e7dc/All-or-Nothing-patti-labelle-&-the-bluebelles"><span style="color:#3333ff;">'All or Nothing'</span></a>; Lulu and Cindy Malone did <a href="http://www.youtube.com/watch?v=8p40rmuCzyQ"><span style="color:#3333ff;">'Try to Understand'</span></a> and Prince Harold did <a href="http://www.youtube.com/watch?v=AvbIpMGly8k"><span style="color:#3333ff;">'Forget About Me.'</span></a> Burton and Sawyer were briefly signed to Motown as songwriters and were one of the few (if not the only) female production teams on the New York rock scene in the mid-'60s. But Lori Burton was also a very credible blue-eyed pop/soul singer, who had a very good earthy voice, delivering both cool sensual low growling and impassioned rasp at the most climactic points. She began recording as a solo act for Roulette in the mid-'60s and in 1967, issued this album, Breakout, on Mercury. The LP has a cover showing Lori in biker chick/Cleopatra makeup breaking out (geddit?) of a barrier consisting of a huge Billboard chart. From the strains of 'Nightmare' to the thundering Northern Soul extravaganza of <a href="http://www.youtube.com/watch?v=ilAdNdP-Xng"><span style="color:#3333ff;"><span style="color:#3333ff;">'Gotta</span> Make You Love Me'</span></a> and <a href="http://www.youtube.com/watch?v=vzRqtCjWycM"><span style="color:#3333ff;">'There Is No Way (To Stop Lovin’ You)</span></a><span style="color:#3333ff;">'</span>, what we have here is impressive, well-produced pop-soul with New York's sophisticated brand of pop-rock production. <a href="http://www.goear.com/listen/21e86f1/Since-I-Lost-Your-Lovin-lori-burton"><span style="color:#3333ff;">'Since I Lost Your Lovin''</span></a> is the closest female impersonation of the Righteous Brothers you'll come across, and <a href="http://www.goear.com/listen/2c495e8/Bye,-Bye-Charlie-lori-burton"><span style="color:#3333ff;">'Bye Bye Charlie'</span></a> does the same to early Neil Diamond, though Burton actually brings a more vibrant, emotional vocal quality to her vocals than Diamond did on such material. It is unfortunate that Lori did not have the chance to develop further as a recording act in her own right. This reissue of her 1967 album Breakout contains the mono single versions of three of the album cuts and, as a bonus track I have included the A-side of her only single for Roulette <a href="http://www.youtube.com/watch?v=fy7uQSKqCJs"><span style="color:#3333ff;">'Yeh, Yeh, Yeh (That Boy of Mine)'</span></a>. http://www.amazon.com/, http://www.allmusic.com/</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=b4218bb" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com5tag:blogger.com,1999:blog-844066150003059872.post-90812294035830094802009-11-24T23:52:00.000-08:002009-11-25T00:06:19.211-08:00Mable John: Stay Out of the Kitchen (1993)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-izSz_h_QWJwQwnmFjJStJVeK-TEr1leAOt3WEd6oMfpQK8rh1WA0BmCAVHSAt7mCU_YmGJPDJUH8TVyTgdgYr0vUMJdK0KDyt4xAArmAtY8DIHcPqwEbB5ryigFpFPmSg4sqrVwmAgA/s1600-h/60070156.jpg"><img id="BLOGGER_PHOTO_ID_5303332240788620370" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-izSz_h_QWJwQwnmFjJStJVeK-TEr1leAOt3WEd6oMfpQK8rh1WA0BmCAVHSAt7mCU_YmGJPDJUH8TVyTgdgYr0vUMJdK0KDyt4xAArmAtY8DIHcPqwEbB5ryigFpFPmSg4sqrVwmAgA/s200/60070156.jpg" border="0" /></a> <div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrePhNsao2y8R5FX9D0xsI4CcmsifFMwVVVwqbjMPsJIlNHOJ84_xv5lUlJwMXIM701WloTlpKxut_XFRPFzT5cEysE5nYpFxc0kLtWBZ8dulLL1ze0cv8cgwCI23lSpiAuT4tbSwRyMo/s1600-h/60070156.jpg"></a>Relatively unknown outside the circle of soul fanatics, Mable John had one of the sultriest voices in her genre, and co-wrote some of the era's best, yet unheard, soul classics. Most notable of her material was her theme song <a href="http://www.goear.com/listen.php?v=998bffb"><span style="color:#3333ff;">'Able Mable,'</span></a> a finger-snapping piece reminiscent of 'Fever,' a single once recorded by her little brother Little Willie John. It's remarkable that the song 'Able Mable' or her other singles, like the fantastic <a href="http://www.goear.com/listen.php?v=3f5b624"><span style="color:#3333ff;">'Running Out'</span></a> or <a href="http://www.goear.com/listen.php?v=3642220"><span style="color:#3333ff;">'I'm a Big Girl Now'</span></a>, never pushed her to greater stardom. Coupling the suave of soul with the smokey physicality of blues, Mable John's vocal approach is virtually unmistakeable. On Stay Out of the Kitchen are John's most notable recordings for the Stax/Volt label, all of them recorded between 1966 and 1968, combining issued sides with a truck load of unissued material. What makes the tracks even more remarkable is the impeccable playing by Stax regulars: Booker T. Jones, backing vocals from staff writer Deanie Parker, members of Jeanne and the Darlings, drummer Al Jackson, Jr. and Isaac Hayes. Hayes also produced and co-wrote several of the songs alongside David Porter, Mable John has several of her own songs and other notable writers include Steve Cropper, who produced several of the tracks (and of course contributes some very tasteful guitar figures throughout), Eddie Floyd and Homer Banks. The final song on the disc is her moving tribute to her brother Little Willie John who had just died, his signature song 'Need Your Love So Bad', written by another brother, Mertis John. We had to wait nearly thirty years to get a chance to hear them, but their power is undimmed by time. Stay Out of the Kitchen is a portrait of a timeless soul singer at her best.~ http://www.cduniverse.com/</div><div align="justify"></div><div align="justify"></div><div align="justify"><span style="color:#000000;"><br /><object height="132" width="353"><embed src="http://www.goear.com/files/external.swf?file=9af8d34" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><br /></span></div><div align="justify"><span style="color:#ffffff;">ee</span></div><div align="justify">Mable John (second from the right) with the Raelettes and Ray Charles singing 'Shake' in the Dick Cavett Show, 1972:</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/V_geqEKlYtk&hl=es_ES&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/V_geqEKlYtk&hl=es_ES&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com4tag:blogger.com,1999:blog-844066150003059872.post-11671988436645770182009-11-22T02:37:00.001-08:002009-11-22T02:43:11.925-08:00Nancy Wilson: Today, Tomorrow, Forever (1964) / A Touch of Today (1966)<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwrlYleE_Omyt_blvGc3NATpRPEyNIHcZNrV0G_8v1mPkq8SJUAsDqLcNbDXcohDJab_tik-BG3sQ1UfXoObMWScZFTt1CAcTsRQJoUbJ5-PW0z5X_d5xWpiHkI2F23Z9zaL_KT9JmRHU/s1600/Dibujo.JPG"><img id="BLOGGER_PHOTO_ID_5405368243974426530" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwrlYleE_Omyt_blvGc3NATpRPEyNIHcZNrV0G_8v1mPkq8SJUAsDqLcNbDXcohDJab_tik-BG3sQ1UfXoObMWScZFTt1CAcTsRQJoUbJ5-PW0z5X_d5xWpiHkI2F23Z9zaL_KT9JmRHU/s200/Dibujo.JPG" border="0" /></a>A very groovy set of standards and '60s pop tunes, all done by Nancy Wilson in her great soulful swinging style! On Today, Tomorrow, Forever, Nancy lights up a set of the usual pop standards of the era: <a href="http://www.youtube.com/watch?v=l9bFotDAOp0"><span style="color:#3333ff;">'One Note Samba,'</span></a> 'I Left My Heart in San Francisco,' <a href="http://www.youtube.com/watch?v=YE-LZZgZ4Cw"><span style="color:#3333ff;">'Unchain My Heart,'</span></a> 'Wives and Lovers' and <a href="http://www.youtube.com/watch?v=GdoNrDfpCz8"><span style="color:#3333ff;">'Tonight May Have To Last Me All My Life,'</span></a> among others. They're all good choices for her breathy voice and occasional improvisations, especially 'One Note Samba' and <a href="http://www.youtube.com/watch?v=2VzvrohOnV4"><span style="color:#3333ff;">'Wives and Lovers'</span></a>. On them, Wilson plays with the notes and rhythm, making a pair of lighthearted songs even more playful and irresistible than they had been previously. Nancy is at the height of her early career here and she is getting backing from a very sympathetic west coast group that includes Jack Wilson on piano and organ, Lou Blackburn on trombone, Bill <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi48nf6_zDOPawuGNON6nSC-swVG6ygoymFr9skXgi-aGU5KiT5PFBgIkzuClWQA8Go-WE70mGyudm7Qsnz-gA2nfpLO5o3QiqcJK-hkCx1dcAie4UA0T4M1TS9vNVfjUxltcWoz5ERfbg/s1600/o337756.jpg"><img id="BLOGGER_PHOTO_ID_5405368327545925026" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 200px; CURSOR: hand; HEIGHT: 200px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi48nf6_zDOPawuGNON6nSC-swVG6ygoymFr9skXgi-aGU5KiT5PFBgIkzuClWQA8Go-WE70mGyudm7Qsnz-gA2nfpLO5o3QiqcJK-hkCx1dcAie4UA0T4M1TS9vNVfjUxltcWoz5ERfbg/s200/o337756.jpg" border="0" /></a>Perkins on tenor, and Milt Holland on percussion. Considering the dozens of traditional jazz-based singers unfamiliar with their place in the middle of the turbulent '60s, Today, Tomorrow, Forever is an accomplished album that sounds almost effortless. A Touch of Today is another of Nancy Wilson's contemporary dates, comprised of standards from Broadway, Motown, the Beatles, and Bacharach, among other '60s sources. Her voice is as strong and pliable as ever, and most of the songs work just fine. Wilson stamps her versions of familiar pop songs like <a href="http://www.youtube.com/watch?v=7O7Y7aS3x30"><span style="color:#3333ff;">'Uptight (Everything's Alright),'</span></a> <a href="http://www.youtube.com/watch?v=OYOdgqoxGGs"><span style="color:#3333ff;">'Call Me,'</span></a> 'The Shadow of Your Smile,' <a href="http://www.youtube.com/watch?v=hg6Nyceq_WA"><span style="color:#3333ff;">'And I Love Him (Her)'</span></a>, 'Yesterday,' and <a href="http://www.youtube.com/watch?v=jXN8JXmP1Zg"><span style="color:#3333ff;">'Goin' Out of My Head.'</span></a> The arrangements, handled either by Oliver Nelson or Sid Feller, are occasionally too reliant on period clichés, but A Touch of Today is another solid album adrift in a period of lesser efforts by great singers. http://www.dustygroove.com/, http://www.answers.com/</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><object width="353" height="132"><embed src="http://www.goear.com/files/external.swf?file=4d15dc8" type="application/x-shockwave-flash" wmode="transparent" quality="high" width="353" height="132"></embed></object><a href="http://www.goear.com/listen/4d15dc8/on-broadway-nancy-wilson"></a></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Nancy Wilson sings 'Almost In Your Arms,' circa 1963: </div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><embed src="http://www.youtube.com/v/C9pYnCqRbRA&hl=" width="425" height="344" type="application/x-shockwave-flash" fs="1&" allowfullscreen="true" allowscriptaccess="always"></embed></div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify">Nancy singing 'Forn Once in My Life' in Sopot (Poland), 1971:</div><div align="justify"><span style="color:#ffffff;">aa</span></div><div align="justify"><embed src="http://www.youtube.com/v/JoCQp9s6nTI&hl=" width="425" height="344" type="application/x-shockwave-flash" fs="1&" allowfullscreen="true" allowscriptaccess="always"></embed></div>Sinohttp://www.blogger.com/profile/11807219404462648839noreply@blogger.com6