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Jazz Blues Club » Music » Blues » Rhythm-n-Blues
1964: Billy Larkin & The Delegates Pigmy Rhythm-n-Blues, Funk-Jazz
1964: Billy Larkin & The Delegates  Pigmy
Artist: Billy Larkin & The Delegates
Album: Pigmy
Label: Aura Records
Year: 1964
Format, bitrate: Mp3, 128 kBit/s
Size: 35,2 MB

Organist Billy Larkin & The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when people discovered they could dance to it. They had an appeal that far exceeded just the jazz listener.
Basically an organ, guitar and drums jazz trio with heavy emphasis on the blues, Billy Larkin & The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a distinctive style. They are best known for their hit 'Pigmy'. Billy Larkin & The Delegates recorded 7 albums.
1977: Clifton Chenier & His Red Hot Louisiana Band Music » Blues » Rhythm-n-Blues

1977: Clifton Chenier & His Red Hot Louisiana Band
Artist: Clifton Chenier
Album: Clifton Chenier & His Red Hot Louisiana Band
Label: Arhoolie Records ‎ 1078
Year: 1977
Format, bitrate: mp3-320Kbps
Size: 110 mb
Duration 47:51

Like many before me, my early interest as a teenager in jazz, funk and blues led me to the music of New Orleans. That interest piqued further when I found a collection of sides recorded for Atlantic by Professor Longhair in the 1950s at a public library , and then went out and bought everything I could get my hands on. Before long my ear wandered up the countryside to the bayous and swamps where music sounded a little different than in the city, namely to cajun and zydeco records. Not speaking any French, let alone Acadian or Creole, I couldnt understand a word of much of it, yet I still felt like I connected to the music. Before the term zydeco came into common musical parlance outside its region of origin, Clifton Chenier was said to have played the blues accordion. That description makes sense. Chenier, who had been recording since the early 60s, had a style capable of filling the space usually filled by a harmonica in a blues band and blending it with the piano or organ riffs you would expect from a keyed instrument. Reeds and keys together in one place. But his musical ladle also dipped into a stew containing fiddle tunes from around Louisianas Cajun belt, along with rhythm and blues, boogie-woogie, and early rock and roll music. His band briefly featured his brother Morris Chenier on fiddle in the 60s, but his lineups more typically counted on saxophone, electric guitar, bass, organ and piano to back him up. And he was always accompanied by his brother Cleveland on the washboard, who is credited with being the first washboard player to wear his instrument draped over the torso in a customized breastplate-type thing. Cleveland would tap out his rhythms using up to a half-dozen bottle openers in each hand. ~ labbergasted-vibes.blogspot.de
1966: Billy Larkin & The Delegates - Aint That A Groove Rhythm-n-Blues, Soul-Jazz, Funk-Jazz
1966: Billy Larkin & The Delegates - Aint That A Groove
Artist: Billy Larkin & The Delegates
Album: Aint That A Groove
Label: World Pacific Records
Year: 1966
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Size: 95 MB


Organist Billy Larkin & The Delegates immediately came to the attention of the Los Angeles jazz audience when their first record was released, but they also picked up a larger audience when people discovered they could dance to it. They had an appeal that far exceeded just the jazz listener.
Basically an organ, guitar and drums jazz trio with heavy emphasis on the blues, Billy Larkin & The Delegates was a versatile and dynamic group that reached into all corners of music to come up with a distinctive style. They are best known for their hit 'Pigmy'. Billy Larkin & The Delegates recorded 7 albums.
1975: Reuben Wilson - Got to Get Your Own Rhythm-n-Blues, Soul-Jazz, Funk-Jazz
1975: Reuben Wilson - Got to Get Your Own
Artist: Reuben Wilson
Album: Got to Get Your Own
Label : DUSTY GROOVE
Year: 1975
Release: 2008
Format, bitrate: Mp3, 320 kBit/s
Time: 35:00
Size : 82 MB
AMG rating: 1975: Reuben Wilson - Got to Get Your Own

REPOST with a new link frm Mr.egroj

CD bully

On his only album for Chess' Cadet imprint, B-3 organist Reuben Wilson pulled the second of his now classic career change-ups. His first was on 1971's Set Us Free, his final album for Blue Note. On that date Wilson and producer George Butler brought in a female backing chorus, a large soul band, and arranger Wade Marcus for a driving set of psychedelic soul, hard funk, and rockist B-3 workouts. Wilson moved to Groove Merchant for a couple of years where he released two solid albums with producer Sonny Lester before coming to Cadet in 1975 for this ill-fated date. Chess was in dire financial straits by this time and was soon to close its doors; the album became a cutout almost immediately. It languished in the bins and in record stores and distribution warehouse basements until sample crazy beatheads and British DJs picked up on it in the late 1980s.
Thom Jurek, All Music Guide
1966: Billy Preston - Wildest Organ in Town Music » Blues » Rhythm-n-Blues

1966: Billy Preston - Wildest Organ in Town
Artist: Billy Preston
Album: Wildest Organ in Town
Label: Capitol
Year: 1966
Format, bitrate: mp3-160 Kbps (LP-rip)
Size: 32 mb

A late '60s Capitol set with Preston displaying his jazz/blues side as an organist. Unfortunately, nothing on this album caught fire, even in the R&B community, and Preston would soon go on to work for Ray Charles and the Beatles. His early prowess as a flashy organ equivalent of Jimi Hendrix has been largely forgotten or overlooked, and the fact that this album hasn't been in print for many years hasn't helped. ~ Ron Wynn, All Music Guide
1954-1984: Clifton Chenier - Zydeco Dynamite Anthologie Boogie-Woogie, Rhythm-n-Blues
1954-1984: Clifton Chenier - Zydeco Dynamite Anthologie
Artist: Clifton Chenier
Album: Zydeco Dynamite: The Clifton Chenier Anthology
Label: Rhino
Years: 1954-1984; Release: 1993
Format, bitrate: mp3;320 Kbps
Size: 298 mb
AMG Rating: 1954-1984: Clifton Chenier - Zydeco Dynamite Anthologie

Clifton Chenier was to zydeco what Elvis Presley was to rockabilly, only more so -- the genre's founding father and tireless ambassador. Rhino has done an admirable job of collecting the accordionist's important work for this two-disc, 40-track set, harking back to a wonderfully chaotic "Louisiana Stomp" that he waxed in Lake Charles, Louisiana in 1954 for J.R. Fullbright's tiny Elko label. Whether you're in the market for one zydeco collection to summarize the entire genre or ready to delve deeply into the legacy of the idiom's pioneer, this is precisely where to begin.
~ Bill Dahl, All Music Guide
1964 - 1965: Don Covay - Mercy!/Seesaw (2 LPs on 1 CD) Music » Blues » Rhythm-n-Blues
1964 - 1965: Don Covay - Mercy!/Seesaw (2 LPs on 1 CD)
Artist: Don Covay
Album: Mercy!/See-Saw
Label: Koch / eOne / Koch International
Year: 1964 - 1965; Release:2000
Style: Soul
Format, bitrate: MP3 (@320)
Time: 1:03:08
Size: 158.98 MB
AMG Rating: 1964 - 1965: Don Covay - Mercy!/Seesaw (2 LPs on 1 CD)

In 2000, Koch reissued Don Covay's two classic mid-'60s albums, Mercy and See-Saw, on one tremendous CD. The term "classic" is thrown around haphazardly in pop music, but these are two sublime records that earn the term, even if they're not as roundly celebrated as platters from Otis Redding or even cult favorite James Carr. Though he racked up a number of singles on the R&B charts, he never had a huge crossover hit, but his music stands as some of the most effervescent, infectious soul of the '60s (not to mention that his vocal style was a clear inspiration to Mick Jagger). What makes his music so remarkable is how it's earthy Southern soul, kicking really hard in its rhythms and with plenty of growl in Covay's voice, but is as nimble, tuneful, and sunny as the sounds coming out of Chicago and Detroit during the mid-'60s. Perhaps that's why he never quite got a huge single -- he straddled the two popular sounds without fully being part of either. It may have not resulted in big singles, but it resulted in splendid music. If there's not much difference stylistically between Mercy and See-Saw -- they're both pretty much cut from the same cloth -- there's also little difference in quality. It's all tremendous, enjoyable, sweet Southern soul. Razor & Tie's Mercy Mercy: The Definitive Don Covay provides the definitive overview, but for a pure concentration of Covay at his peak, this is irresistible and essential. ~ Stephen Thomas Erlewine, All Music Guide
1952 - 1977: Bobby "Blue" Bland - Anthology 2CD Music » Blues » Rhythm-n-Blues
1952 - 1977: Bobby "Blue" Bland - Anthology 2CD
Artist: Bobby "Blue" Bland
Album: Anthology
Label: MCA
Years: 1952-1957; Release: 2001
Format, bitrate:
Time:156m
Size: 361 mb

As the quintessential chitlin' circuit R&B/blues star, Memphis-based singer Bobby "Blue" Bland's career has been relatively well-documented on CD. Still, until this 2001 double set, all 25 of his Top Ten R&B hits have not been available in one package. The Anthology is still not a complete career overview though, as it ends in 1982 before his prolific years at Malaco. It does, however, cover a remarkably prolific 30-year period, starting with his first recordings for Duke in 1952 and touching base at Dunhill and MCA, all conveniently located under the current Universal Music label umbrella. Die-hard fans of Bland during this period likely own the three double-disc sets MCA released in the mid-'90s but, for those who don't need the warts-and-all treatment yet want something more in depth than skimpy single-disc collections, this is certainly the way to go. Soul expert Bill Dahl's excellent liner notes provide anecdotes along with the major events that shaped Bland's life and ultimately these recordings. The 16-page book lists detailed and comprehensive individual track information, noting specific musicians on each of the 50 cuts. The overall effect is startling in its consistency. Bland's style and voice are immediately identifiable throughout, and the songwriting -- even on the later tracks -- typically suits his grits-and-honey approach. A previously unreleased live eight-minute 1973 version of "This Time I'm Gone for Good," which demonstrates how effectively Bland extended his songs in concert, is the only collectable track here, but this chronologically arranged set is not geared toward that segment of the audience. Sonically, The Anthology is the best this material has ever sounded, with the '60s songs absolutely stunning in their remastered definition. While he experienced a significant career resurgence in the '80s, which is where this sets stops, these are the classic songs that form the basis of any serious blues collection. As such, it's an essential document of one of America's most talented, and creative, blues singers.
~ Hal Horowitz All Music Guide
1958: Various Artists - Newport Jazz Festival 1958 Volume 4 - Blues In The Night No. 2 Vocal Jazz, Rhythm-n-Blues
1958: Various Artists - Newport Jazz Festival 1958 Volume 4 - Blues In The Night No. 2
Artist: Various Artists
Album: Newport Jazz Festival 1958 Volume 4 - Blues In The Night No. 2
Label: Phontastic Sweden PHONT NCD 8816
Year: 1958
Format: FLAC with Artworks
Time: 58 min
Size: 430 MB

The Newport Jazz Festival is a music festival held every summer in Newport, Rhode Island, USA. It was established in 1954 by socialite Elaine Lorillard, who, together with husband Louis Lorillard, financed the festival for many years. The couple hired jazz impresario George Wein to organize the event to help them bring jazz to the resort town.
Most of the early festivals were broadcast on Voice Of America radio and many performances were recorded and have been issued by various record labels.
The acclaimed film Jazz on a Summer's Day documented the 1958 festival. Sets by Dave Brubeck, Ray Charles, and Miles Davis at that year's festival appeared respectively on the albums Newport 1958, Ray Charles at Newport, and At Newport 1958. In due course, further albums from the 1958 performances were issued for Count Basie and Horace Silver.
This is the fourth of a four CD Box issued from Phontastic in Sweden 20 years ago.The main performers are Dinah Whashington and Ray Charles
2008: MRR/ADM - Featuring Malcolm Catto Music » Blues » Rhythm-n-Blues
2008: MRR/ADM - Featuring Malcolm Catto
Artist: MRR/ADM
Album: Featuring Malcolm Catto
Label: Private
Year: 2008; Release:EP
Format, bitrate: MP3 192kBPS
Time: 16 minutes
Size: 23.5 MB

I had the fortune to be made aware of this 10" record by the artists MRR/ADM (Mike Raymond Russel & Adam Douglas Manella) a production duo out of Southern California, formerly known as MHE of Sound in Color records. The record features drummer Malcolm Catto, of The Heliocentrics fame, on the b-side.

The sound of the record, to put it in one word, is raw. Center focus is placed on the rhythmic underpinnings of the drums, supplemented by deep bass and sparse 'melodic' leads provided by heavily processed guitars and synthesizers. The music is very dark, experimental and introspective and is therefore exactly to my liking. The original text of the description furnished with the 10" likened it to a modern library record.

The reasoning for starting the tracks at 009 has to do with their prior recorded output as MHE (which I believe, in name, is now defunct -- due to improper use of their name). Those releases to my knowledge are scattered across Sound in color compilations and some out of print releases. As for why they have chosen numbers as opposed to words and phrases for song titles reflects either MRR/ADM's deficiency in naming obtuse sound-scapes or their want of limiting the release to utter obscurity, leaving it devoid of a title and track names, I prefer the latter explanation.
1995-2011: Maysa - Discography Rhythm-n-Blues, Soul-Jazz
1995-2011: Maysa - Discography
Artist: Maysa
Album: Discography
Year: ; Release: 1995 - 2011
Format: FLAC
Size: 3,28 GB



Maysa Leak (born August 17, 1966) is an American jazz singer better known by her mononym Maysa. She is well known by fans of smooth jazz both for her solo work and for her work with the British band Incognito. ~ Wikipedia, the free encyclopedia
1953-1965: VA - Chess New Orleans VA (2CD) Music » Blues » Rhythm-n-Blues
1953-1965: VA - Chess New Orleans VA  (2CD)
Artist: Various
Album: Chess New Orleans
Label: Chess
Years: 1953-1965; Release: 1995
Format, bitrate: mp3; VBR
Size: 135 mb

The Chicago-based Chess label isn't often associated with the New Orleans rock and R&B scene of the '50s, but its dalliances there produced a handful of hits including Clarence "Frogman" Henry's "Ain't Got No Home" and Bobby Charles' "See You Later Alligator" and "Time Will Tell." Chess New Orleans is a two-disc set that collects 44 hits, misses, album tracks, and previously unreleased recordings from the Chess vaults, including cuts from the subsidiary labels Checker and Argo, and distributed sides like Rod Bernard's hit "This Should Go On Forever." Certain artists, such as Bobby Charles, Clarence Henry, Sugar Boy Crawford (maker of the first version of "Iko Iko," titled "Jock-A-Mo"), and Paul Gayten, are well represented with up to a half dozen tracks each. The selections run the gamut from straight rock and R&B to Clifton Chenier's accordion-driven Cajun sides to regional novelties like the Hawketts' "Mardi Gras Mambo." Chess New Orleans is not a representative regional or hits anthology but revives many worthwhile rarities for collectors. ~ Greg Adams, All Music Guide
1965: Booker T. & The MG's - Soul Dressing Music » Blues » Rhythm-n-Blues
1965: Booker T. & The MG's - Soul Dressing
Artist: Booker T. & The MG's
Album: Soul Dressing
Label: Atlantic & Atco Remasters
Year: 1965; Release:1991
Format,bitrate: MP3@320 kbps
Time: 38:35
Size: 85.69 MB

Assembled mostly from (non-hit) 1963-65 singles, this is solid stuff, but a notch below their peak collections. The best tracks ("Soul Dressing," "Tic-Tac-Toe," "Can't Be Still") are usually included on their best-of anthologies, but "Plum Nellie," featuring some ferocious, cutting-edge solos by Cropper and Jones, is an overlooked highlight. ~ Richie Unterberger, All Music Guide

A great little record from Booker T and group often overlooked amidst the range between Green Onions and Melting Pot, but a very strong album of soulful Memphis instrumentals all the way through! Book's organ is bubbling hot, and the band's tight rhythm style works in a perfect laid-back mode to push the group way past the stock grooves of earlier albums thanks to great work from the rest of the combo too. There's some mighty nice rhythm changes on this one, and a good range of non-pop tunes like "Night Owl Walk", "Chinese Checkers", "Soul Dressing", "Tic Tac Toe", "Outrage", "Home Grown", "Big Train", "Jelly Bread", and "Plum Nellie". 1996-2013, Dusty Groove, Inc.
1950-1957: Percy Mayfield - Volume 2: Memory Pain Music » Blues » Rhythm-n-Blues
1950-1957: Percy Mayfield - Volume 2: Memory Pain
Artist: Percy Mayfield
Album: Volume 2: Memory Pain
Label: Specialty
Year: 1950-1957
Release: 1992
Format,bitrate: Flac/MP3 @320 kbps
Time: 65 min.
Size: Flac-192 MB; MP3-154 MB

Ranging from major hits to alternate takes and rarities, this CD (released in 1992) illustrates the prolific nature of Percy Mayfields Specialty Records output during the 1950s. Though not everything on Memory Pain is essential, the collection of early R&B and 12-bar blues is consistently satisfying. The best known song here is the number one hit of 1950, Please Send Me Someone to Love, and many listeners will also be familiar with such gems as Strange Things Happening and the title song. A singer who was flexible as well as charismatic, Mayfield is as convincing on a rare version of the mournful, jazz-tinged Nightless Lovers as he is on 12-bar numbers like My Blues and The Big Question. The CD ends on an interesting note with a demo of Hit the Road Jack (which became a major hit for Ray Charles). Highly recommended. ~ By Alex Henderson, All Music Guide.

2nd volume from Specialty Records of the music they recorded of Percy Mayfield known as the Poet of the Blues. Mayfield's influence far reaching, his compositions have been recorded by many artists, influence on Ray Charles. One of seminal figures in development of blues and Rhythm and blues in U.S. ~ Amazon.com
1973: Brighter Side Of Darkness - Love Jones Rhythm-n-Blues, Soul
1973: Brighter Side Of Darkness - Love Jones
Artist: Brighter Side Of Darkness
Album: Love Jones
Label: P-Vine Records / PCD-22232
Year: 1973
Release: 2006
Format: FLAC (tracks +.cue, log-file)
Time: 44:37
Size: 310 Mb (Covers)
AMG rating: 1973: Brighter Side Of Darkness - Love Jones

Other than the Jackson Five's early Motown releases, and the excellent Curtis Mayfield-produced debut by the Five Stairsteps, the Brighter Side of Darkness' Love Jones is one of the best teen albums ever. Twelve-year-old lead singer Daryl Lamont, like Michael Jackson, sounds like Frankie Lymon reincarnated. His youthful voice crosses age barriers. "I Owe You Love," "Can I Come Over," and the million-selling title track are all must-hear soul gems.
~ Andrew Hamilton, All Music Guide
1955-1963: Lula Reed - The Soulful Side Of Lula Reed Music » Blues » Rhythm-n-Blues
1955-1963: Lula Reed - The Soulful Side Of Lula Reed
Artist: Lula Reed
Album: The Soulful Side Of Lula Reed
Label: Titanic Records
Year: 1955-1963
Release: 2011
Format, bitrate: Mp3, 320 kBit/s
Size: 132 MB

A fantastic collection of blues, R&B and proto-soul from this superb and underrated singer. Lula's early recordings from the period 1951 through 1955 are available on Ace 984 while this covers her later recordings from 1955 through to her last recordings made for Ray Charles's Tangerine label in 1962 and '63. Lula had a couple of R&B hits in 1951 including the original version of I'll Drown In My Hits ,which was later covered with great success by Ray Charles, but never had any further hits. I think these later sides might even be better than her earlier sides with her voice having a richer and more expressive quality - at times her stylings are a little reminiscent of Irma Thomas. Many of these sides feature her in the company of the great band led by her long time associate Sonny Thompson (not her husband as originally thought). Two of her Tangerine sides find her accompanied by the superb Mike Akapoff Orch. with the rest accompanied by an unidentified band though it sound like it might be Ray Charles's Orch. with Brother Ray on piano. Returning the compliment Lula does a stellar rendition of Ray's Ain't That Love. Great music with excellent sound, brief notes and discographical info. ~ Frank Scott, Roots & Rhythm
2010: Tiny Topsy & Lula Reed - Just A Little Bit: Federal's Queens Of New Breed R&B Music » Blues » Rhythm-n-Blues
2010: Tiny Topsy & Lula Reed - Just A Little Bit: Federal's Queens Of New Breed R&B
Artist: Tiny Topsy & Lula Reed
Album: Just A Little Bit: Federal's Queens Of New Breed R&B
Label: Ace
Year: '50 - '60
Release: 2010
Format, bitrate: Mp3, 192 kBit/s
Time: 70 minutes
Size: 98 MB

Rare singles plus just a bit of previously unissued material, recorded separately by two women singers for the Federal label in the late 1950s and early '60s, are compiled on this CD, divided about evenly between Tiny Topsy sides and Lula Reed tracks. None of the five singles Tiny Topsy did for the label between 1957 and 1959 were hits, but one of them should have been, and was indeed a hit for someone else. That song was the R&B/rock classic "Just a Little Bit," heard here in its original version. Covered soon afterward for a huge R&B hit by Rosco Gordon, it was done over the next few decades by numerous rock and soul acts. Tiny Topsy's rendition isn't necessarily the best of the many that have been waxed, but it's tough and based around riveting, minor-keyed melodic lines. Unfortunately, none of her other Federal tracks were nearly as exciting. They're adequately energetic if formulaic performances caught somewhere between mid-'50s R&B and the rock & roll that was superseding it; Tiny Topsy used a far raunchier vocal approach than most women in her field did during that period. Lula Reed is much better known, and was recorded much more often, than Topsy. In fact, she'd already done a lengthy tour of duty with Federal's parent label, King, in the early to mid-'50s that's collected on another Ace CD, I'll Drown in My Tears (whose title track was famously covered by Ray Charles as "Drown in My Own Tears"). This CD has singles she did in 1961 and 1962, including a couple duets with Freddy King. Reed wasn't as forceful a singer as Topsy, and these sides are just average, early-'60s R&B numbers with a bluesy edge. They're a little behind the times, as they're not especially influenced by either rock & roll or the emerging sounds of soul music. Songwriter Rudolph Toombs (noted for "One Mint Julep" and "One Scotch, One Bourbon, One Beer") wrote or co-wrote a few of the songs here, but even the liner notes acknowledge that they weren't up to the level of the aforementioned classics. Another cut, "Ain't No Cotton Pickin' Chicken (Gonna Break This Chicken Heart of Mine)," deserves some sort of commendation for its convoluted title, but isn't as interesting as its handle might suggest. The somewhat poppier Reed-King duets aren't highlights of either artist's career, and don't contain much in the way of King's trademark flashy blues guitar. But they do provide a historical footnote worth hearing in "It's Easy, Child," which was somehow discovered by the Moody Blues and covered on the B-side of their mid-'60s smash "Go Now."
~ Richie Unterberger, All Music Guide
1971: James Brown - Super Bad Rhythm-n-Blues, Soul
1971: James Brown - Super Bad
Artist: James Brown
Album: Super Bad
Label: Universal Records(Japan)
Year: 1971
Format, bitrate: Mp3, 256 kb/s
Size: 59.65 MB

Repost with a new link

...I got somethin' that makes me wanna shout
I got somethin' that tells me what it's all about
Huh, I got soul and I'm super bad!...


Enjoy let it be me a killer tune with great vocals by Vicky Anderson. Super Bad is So right! This is hard hitting funky jamming of the classic Payback years. The album features a 10 minute version of the killer "Super Bad" parts 1, 2, and 3! Too including the great funky cut "Giving Out of Juice", & the classic "A Man Has to Go Back to the Crossroads"
1959: James Brown - Try Me! Rhythm-n-Blues, Soul
1959: James Brown - Try Me!
Artist: James Brown & His Famous Flames
Album: Try Me!
Label: Universal Records (Japan)
Year: 1959
Format, bitrate: Mp3, 320 kb/s
Time: 40:23
Size: 100 MB

Reost with a new link

When James Brown and His Famous Flames finally scored a second hit with their 11th single, "Try Me," King Records constructed this 16-track LP, including the hit along with both sides of three of its follow-ups, "I Want You So Bad"/"There Must Be a Reason," "I've Got to Change"/"It Hurts to Tell You," and "Got to Cry"/"It Was You"; the B-side of a fourth follow-up, "Don't Let It Happen to Me"; the 1957 single "Can't Be the Same"/"Gonna Try"; the 1957 B-sides "I Won't Plead No More" and "Messing With the Blues"; the B-side of Brown's first hit ("Please Please Please"), "Why Do You Do Me"; and three other stray tracks. The earliest work especially sounded more like that of a doo wop group rather than that of a gritty R&B solo singer. None of it measured up to "Try Me," but you could see what Brown had been aiming at, and if the set list comprised what were in effect James Brown's greatest flops, circa 1959, it demonstrated that he possessed as much promise as fervor. (Try Me! was reissued in 1964 under the title The Unbeatable James Brown: 16 Hits.)
~ William Ruhlmann, All Music Guide
1963: James Brown - Prisoner of Love Music » Blues » Rhythm-n-Blues
1963: James Brown - Prisoner of Love
Artist: James Brown
Album: Prisoner of Love
Label: Universal/Polydor
Year: 1963, release: 2007
Format mp3, bitrate:320
Time: 33:57
Size: 77.85 MB

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In the wake of James Brown's first substantial pop hit, "Prisoner of Love," King rushed out this LP, as usual drawing upon old singles ("Try Me," "Lost Someone," "Bewildered"), B-sides ("Waiting in Vain," the organ instrumental "[Can You] Feel It [Part 1]"), and Brown's then-current single, "Signed, Sealed, and Delivered" (not the Stevie Wonder song). The idea seemed to be to put together a collection in the medium-tempo, string-filled, lovelorn style of the hit, so there was a lot of pleading on this record. Brown would always be more interested in the dancefloor than the bedroom, but he was a convincing romantic beggar, so the album's loose concept held together. ~ William Ruhlmann, All Music Guide
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