Hailing from the soggy streets of New Orleans, the Meters essentially invented the second line groove, influencing Funk music like no other artist (OK, aside from a singer by the name of James Brown). These cats are essentially one unified rhythm section, with expertly timed drum breaks, bass driven grooves, bluesy chicken scratch guitars and Southern sing along choruses.
Their 1975 album Fire On The Bayou established once again that The Meters were still the undisputed masters of Funk. Tracks like "Can You Do Without", "Out In The Country" and the title track have become staples in the Meters' songbook.
1. Out In The Country
2. Fire On The Bayou
3. Love Slip Upon Ya
4. Talkin' 'bout New Orleans
5. They All Ask'd For You
6. Can You Do Without?
8. You're A Friend Of Mine
9. Middle Of The Road
10. Running Fast
11. Mardi Gras Mambo
Givin' It Back is the ninth album released by The Isley Brothers on their T-Neck imprint in 1971. After years of having white Rock acts covering their most famed material, particularly, "Shout" and "Twist And Shout", the Isleys decided to do the same to music made famous by white artists such as Stephen Stills, Eric Burdon and Neil Young.
Among the songs they covered were "Spill The Wine", "Love The One You're With", the social commentary medley of "Ohio" and "Machine Gun" (from Jimi Hendrix), "Fire And Rain" by James Taylor and Bob Dylan's "Lay Lady Lay". The Isleys' perseverance paid off when their covers of "Love The One You're With", "Lay Lady Lay" and "Spill The Wine" became charted hits. Bill Withers plays guitar on the Isleys' version of his "Cold Bologna".
1. Ohio / Machine Gun
2. Fire And Rain
3. Lay Lady Lay
4. Spill The Wine
5. Nothing To Do But Today
6. Cold Bologna
7. Love The One You're With
Upon its release in 2004, few could have predicted the extraordinary, game-changing effect that Ray Charles’ final recording would have on both his career and the industry as a whole. To celebrate the 10th anniversary of the legend’s milestone recording, Concord/Hear Music will release a special 2LP, 45RPM, 180-gram Vinyl Edition.
One of Charles’ most inspirational and historically significant albums, Genius Loves Company captures the genius of the music icon in his last studio recording pairing him with legendary guest artists including Norah Jones, Diana Krall, James Taylor, Elton John, Willie Nelson and Bonnie Raitt to name a few. The album went on to receive an astounding 8 GRAMMY® Awards, including Album of the Year and Record of the Year. To help launch a then-groundbreaking consumer marketing campaign, Genius Loves Company was tapped as the first original release through the Starbucks Hear Music imprint in conjunction with Concord Music Group. Since its release on August 31st, 2004, Genius Loves Company has been certified multi-platinum with worldwide sales in excess of 5 million copies.
Produced by John Burk, Concord Music Group’s chief creative officer, and co-produced by the legendary Phil Ramone, Genius Loves Company garnered critical acclaim upon its release. NPR All Things Considered hailed, “It’s got flashes of fire you wouldn’t expect from such a setting, gems of phrasing that remind you how Ray Charles transformed the wreckage of heartbreak into poignant sound,” and Rolling Stone added, “the tone is reverential and warm, as the Genius sings…”
“Ray was shocked that these people wanted to sing with him,” recalls Ray Charles Foundation president Valerie Ervin. “He just didn’t understand the magnitude of where he was in the industry. As weak as he became…he made sure he gave his best for every artist that was there for him.”
“Ray Charles was one of those rare artists who, throughout his incredible career, had far-reaching impact that forever changed the conventions of popular music as well as the music business,” said Concord Music Group chief creative officer John Burk. “Looking back at the last 10 years, it’s clear that this album was certainly no exception. We are humbled, honored and blessed to have had the opportunity to work with such a musical giant, and we are eternally grateful to Ray for elevating both Concord Records and Hear Music to new heights, far beyond our wildest dreams ten years ago.”
1. Here We Go Again with Norah Jones
2. Sweet Potato Pie with James Taylor
3. You Don’t Know Me with Diana Krall
4. Sorry Seems To Be The Hardest Word with Elton John
5. Fever with Natalie Cole
6. Do I Ever Cross Your Mind? with Bonnie Raitt
7. It Was A Very Good Year with Willie Nelson
8. Hey Girl with Michael McDonald
9. Sinner’s Prayer with B.B. King
10. Heaven Help Us All with Gladys Knight
11. Over The Rainbow with Johnny Mathis
12. Crazy Love with Van Morrison
“Tell Mama” by Etta James was originally released in 1968 and it put her back in the top 10 with the single “Tell Mama”. Produced by Rick Hall at FAME Studios in Muscle Shoals, Alabama this album is a stone cold soul - blues classic from start to finish. Standout tracks include the title track, a cover of Otis Redding’s “Security”, “I’d Rather Go Blind” and “Don’t Lose Your Good Thing”. Easily one of the best albums of her long career it is now being reissued on 180 gram vinyl in glorious mono!
1. Tell Mama
2. I'd Rather Go Blind
3. Watch Dog
4. Love Of My Man
5. I'm Gonna Take What He's Got
6. The Same Rope
8. Steal Away
9. My Mother In Law
10. Don't Lose Your Good Thing
11. It Hurts Me So Much
12. Just A Little Bit
Studio One Rocksteady is the fantastic new installment in Soul Jazz Records' journey through the mighty vaults of Studio One, reggae's number one record company and its legendary pioneering producer Clement Sir Coxsone Dodd. With excellent sleevenotes by Lloyd Bradley (author of the classic book Bass Culture - When Reggae Was King (Penguin)) this album is dedicated to rocksteady at Studio One as well as covering reggae soul and the birth of reggae. Featuring an all-star selection of artists: Ken Boothe, Marcia Griffiths, Jackie Mittoo, The Heptones, John Holt, Alton Ellis, Dennis Brown and more. Soul Jazz Records' Studio One Rocksteady is released as a heavyweight double-vinyl edition in deluxe strong gatefold sleeve (with full sleeve notes).
1. The Eternals — Stars
2. John Holt — Fancy Make Up
3. Cecille Campbell — Whisper To Me
4. The Heptones — Party Time
5. The Gaylads — Joy In The Morning
6. Marcia Griffiths — My Ambition
7. The Heptones — Love Won't Come Easy
8. Alton Ellis — Hurting Me
9. The Wailing Souls — Row Fisherman Row
10. Ken Boothe — Home Home Home
11. Jackie Mittoo — Our Thing
12. Ken Boothe — When I Fall In Love
13. Larry & Alvin — Throw Me Corn
14. Duke Morgan — Lick It Back
15. Carlton And The Shoes — Me And You
16. Dennis Brown — Easy Take It Easy
17. The Classics — Pack Up
18. Ken Boothe — Moving Away
Ranked 20/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Thriller is the sixth studio album by American recording artist Michael Jackson. It was released on November 30, 1982, by Epic Records as the follow-up to Jackson's critically and commercially successful 1979 album Off the Wall. Thriller explores similar genres to those of Off the Wall, including pop, R&B, rock, post-disco, and adult contemporary music.
Recording sessions took place between April and November 1982 at Westlake Recording Studios in Los Angeles, California, with a production budget of $750,000, assisted by producer Quincy Jones. Of the nine tracks on the album, four of them were written by Jackson himself. Seven singles were released from the album, all of which reached the top 10 on the Billboard Hot 100. Three of the singles had music videos released. "Baby Be Mine" and "The Lady in My Life" were the only tracks that were not released as singles. In just over a year, Thriller became—and currently remains—the best-selling album of all time, with sales estimated by various sources as being between 65 and 110 million copies worldwide
1. Wanna Be Startin' Somethin'
2. Baby Be Mine
3. The Girl Is Mine (with Paul McCartney)
5. Beat It
6. Billie Jean
7. Human Nature
8. P.Y.T. (Pretty Young Thing)
9. The Lady In My Life
Charles Bradley's voice has evolved from a lifetime of paying dues, having nomadically labored for decades at various day jobs from Maine to Alaska, singing and performing in his spare time, before re-settling in his hometown of Brooklyn and eventually finding a musical home at Dunham/Daptone.
In his distinctively rough-hewn timbre one hears the unmistakable voice of experience, each note and gruff infection a reflection of his extended, sometimes rocky, personal path. It's only fitting that No Time For Dreaming's producer Thomas "Tommy TNT" Brenneck (also a member of The Dap-Kings and The Budos Band) would recognize in Bradley a kindred musical spirit, a singer whose performances exude both raw power and poignant beauty.
Recorded at Dunham Studios, and mixed at Daptone Records' internationally revered "House of Soul" Studios, No Time For Dreaming is the inspired sound of an awakening.
1. The World (Is Going up in Flames)
2. The Telephone Song
3. Golden Rule
4. I Believe in Your Love
5. Trouble in the Land
6. Lovin' You, Baby
7. No Time for Dreaming
8. How Long
9. In You (I Found a Love)
10. Why is it so Hard?
11. Since Our Last Goodbye
12. Heartaches and Pain
Released in 1979, The Handwriting Is on the Wall boasted some high-powered funk backdrops, but for the most part the album finds Peebles taking on a set of straight-ahead soul numbers in which she was usually either taking a man away from some woman who didn't know how to hold on to him, or was warning the ladies why they should stay away from her significant other. Peebles is a tower of defiant sass on "I Didn't Take Your Man" and "You've Got the Papers (I've Got the Man)," she leaves no doubt about why she's dating outside her age group on "Old Man with Young Ideas," and "Bip Bam Thank You Mam" alerts listeners to the consequences of not pleasing Ms. Peebles. Willie Mitchell pairs Peebles up with some full-bodied soul and funk arrangements for these songs, and while unfortunately most of the great Hi Rhythm Section were unavailable for this record, the players on board do fine work, even if the groove lacks the ineffable touch of Peebles' finest work. The Handwriting Is on the Wall was Ann Peebles' last album for Hi, and the last new set she would release until 1988, but it captures one of the great R&B singers of the 1970s doing what she does best, and here she bows out on a high point.
1. Old Man with Young Ideas
2. Bip Bam Thank You Mam
3. The Handwriting Is on the Wall
4. I Didn't Take Your Man
5. You've Got the Papers (I've Got the Man)
6. Lookin' for a Lovin'
7. You're More Than I Can Stand
8. Lovin' Out Livin' In
9. If I Can't See You
10. Let Your Love Light Shine
A purveyor and survivor of Britpop (with band Squeeze), solo artist, author, and television presenter, Jools Holland is prominent as one of British music’s most recognized and trustworthy.
A couple of years back, Holland’s talent for composition was refreshed with 2012’s The Golden Age Of Song, a star-studded effort. Holland must have had the itch to repeat that highly successful and pleasant experience, only this time around he’s kept it between him and the ladies. What emerges is 14 tracks of originals and reworked gems starring some of the best female voices in the business.
What Holland nails here are his choices of leading ladies for each track, which offer so much in the way of delightfully surprising and sublime covers. Jamaican songstress Ruby Turner sasses up Ray Charles’ Jumpin’ In The Morning, our own pop princess Kylie Minogue puts her pout to The Clash’s Should I Stay Or Should I Go, and Emeli Sandé admirably takes on 1920s standard Love Me Or Leave Me. Among the standouts, though, are Louise Marshall’s A Vow, a poem by one of Holland’s favourite English poets, Wendy Cope; Joss Stone’s soulful attack in Letting Me Down; and the playful ska in Monkey Man, brought to life by the late, great Amy Winehouse.
Holland’s orchestra never falters, nor do the man’s fingers on the ivories, and running throughout is a vibrant sense of celebration for not only these skilfull lasses but for the sheer act of making music with many different talents.
-Carley Hall (The Music)
1. Jumping In the Morning - By Jools Holland & Ruby Turner
2. Letting Me Down - By Jools Holland & Joss Stone
3. Love Me Or Leave Me - By Jools Holland & Emeli Sandé
4. A Vow - By Jools Holland & Louise Marshall
5. Monkey Man - By Jools Holland & Amy Winehouse
6. Should I Stay Or should I Go - By Jools Holland & Kylie Minogue
7. Sweet Bitter Love - By Jools Holland & Mabel Ray
8. See-Line Woman - By Jools Holland & Laura Mvula
9. Lost Mind - By Jools Holland & Rumer
10. Top To Bottom Boogie - By Jools Holland & Imelda May
11. Night & Day - By Jools Holland & KT Tunstall
12. I Wish - By Jools Holland & Melanie C
13. I Still Went Wrong - By Jools Holland & Ruby Turner
14. Ain't Misbehavin' - By Jools Holland & Eartha Kitt
When Maurice Starr uncovered the talents of a Roxbury vocal group in the early '80s at a talent show at Dorchester’s storied Strand Theater he saw the second coming of the Jackson 5. The boys didn’t win the completion (they came in second) but they did win a deal with Starr & Streetwise records. Starr came up with the name New Edition (as in a new edition of the Jackson 5) and started recording with the boys the day after the talent show at the Strand. This group of kids (all under 15) had their first single “Candy Girl” shoot to #1 on the Billboard R&B Charts. This led them to their debut album, also titled Candy Girl, which had a lot of pop/early hip hop influences, yet still has a classic R&B feel. Other hits such as “Popcorn Love” and “Ohh Girl” and the slow burner of “Is This the End” make this album well rounded and no surprise as to why they went on to become one of the biggest R&B groups ever. The success of New Edition led to Bobby Brown’s solo career, the success of Bell Biv DeVoe and served as a template for the “boy bands” that followed. But don’t let that last line fool you, this album packs a bite with solid production and hooks for days.
1. Gimme Your Love
2. She Gives Me A Bang
3. Is This The End
4. Pass The Beat
5. Popcorn Love
6. Candy Girl
7. Ooh Baby
8. Should Have Never Told Me
9. Gotta Have Your Lovin’
10. Jealous Girl
The thirteenth studio album by American soul musician Marvin Gaye, released March 16, 1976, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place throughout 1975 and 1976 at Motown Recording Studios, also known as Hitsville West, and Gaye's personal studio Marvin's Room in Los Angeles, California. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971). I Want You consisted of Marvin Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.
1. I Want You
2. Come Live With Me Angel
3. After The Dance (Instrumental)
4. Feel All My Love Inside
5. I Wanna Be Where You Are
6. I Want You (Intro Jam)
7. All The Way Around
8. Since I Had You
9. Soon I'll Be Loving You Again
10. I Want You
11. After The Dance
THEESatisfaction’s EarthEE is the follow up to awE naturalE, the alternative
R&B group’s critically acclaimed debut. EarthEE was recorded in Seattle and
Brooklyn, and features guest appearances from Shabazz Palaces, Meshell
Ndegeocello, Porter Ray and Taylor Brown. EarthEE was produced by
THEESatisfaction and Erik Blood at Protect and Exalt Studios: A Black Space and
mastered by Adam Straney at BreakPoint Mastering in Seattle.
“Igbo beaded mail, Dinkan Scarification, Ashanti repetitive leaping. It all
bounces. So too should you"
Neo-Ancient Nubian aphorism.
Once in Time, in an emerald veld of near solitude, Two met.
One Cat and One Stas. Born under different signs. Destined to shine under
the same moons.
They agreed, upon meeting, that the old force fields rooted in sonics were
necessary once again.
They commenced to make.
It was cold out. They made. It became warmer. They continued. The orb
shone from above with intensity. They continued to make. The trees shifted
hues and shed...They made.
In this din, this mantra of making, they became Sisters of a very specific rite.
Ethereal. The foundation of empires lost and regained.
In this din the force field grew.
The first time I saw them they glowed. They were palpable amongst the flat.
Regal in a manner that is now mostly forgotten.
Not generic in that description either. Specific.
As in the Queens of some Where. The Queens of some Thing.
Sorceress Queens who dealt in aural incantation architecture.
Possessors of keys to deeper feelings. Unlockers of healing.
I became a devotee to the sonic altars they had, and continue to construct.
One Cat. One Stas. Past Lovers. Present Friends. Future Deities.
THEESatisfaction. Exalted heavenward (outward, spaceward) upon the aurally
blood price of heavily scented continuum.
They made me for you.
P.S. Change is inevitable and necessary. It is the precursor to transcendence.
by Maikoiyo Alley-Barnes
1. Prophetic Perfection
2. No GMO (feat. Taylor Brown)
3. Planet for Sale
4. Blandland (feat. Ishmael Butler)
5. Fetch/Catch (feat. Taylor Brown)
6. Nature’s Candy
7. EarthEE (feat. Ishmael Butler, Porter Ray, Erik Blood)
8. Post Black Anyway
9. Universal Perspective (feat. Meshell Ndegeocello)
10. WerQ (feat. Meshell Ndegeocello)
11. Sir Come Navigate (feat. Tendai Maraire)
12. Recognition (feat. Shabazz Palaces, Erik Blood)
13. I Read You (feat. Erik Blood)
Ranked 202/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
The era of BAD represented Michael Jackson’s creative peak as a solo artist. BAD was the first album on which nearly all of the songs were written
by Michael and also was the first album in history to produce FIVE consecutive #1 singles – a success that took 2 ½ decades for another artist to
match. BAD produced nine chart-topping singles, nine ground breaking short films and to date, the Bad album has generated over 45 Million units in sales. BAD was nominated for six Grammys and won two; the album earned Michael the Video Vanguard Award at the MTV VMAs. It was also the first time Michael would tour the world as a solo artist. The enormous success of the BAD album and tour was a pivotal moment in Michael’s growth as a composer, performer and producer cementing his role as the King of Pop.
Now, twenty-five years after the phrase “Who’s Bad” became a generation’s cultural catchphrase, the legendary album will be celebrated with the release of Bad (25th Anniversary Edition) (LP Version)
LP version features:
3 180 Gram LPs in a triple gatefold jacket with full picture sleeves
LP1: The remastered original BAD album
LP2 & 3: Rare and previously unreleased material recorded as a part of the BAD sessions in Michael Hayvenhurst studio, including early demo versions of songs from the album as well as outtakes from sessions.
2. The Way You Make Me Feel
3. Speed Demon
4. Liberian Girl
5. Just Good Friends (featuring Stevie Wonder)
6. Another Part of Me
7. Man in the Mirror
8. I Just Can’t Stop Loving You
9. Dirty Diana
10. Smooth Criminal
11. Leave Me Alone
LP 2 & 3
1. Don't Be Messin' 'Round
2. I'm So Blue
3. Abortion Papers
5. The Price of Fame
6. Al Capone
8. Fly Away
9. Todo Mi Amor Eres Tu (I Just Can't Stop Loving You, sung in Spanish)
10. Je Ne Veux Pas La Fin De Nous (I Just Can't Stop Loving You, sung in French)
11. Bad 25 Afrojack Remix (feat. Pitbull - DJ Buddha Edit)
12. Speed Demon (Nero Remix)
13. Bad 25 Afrojack Remix (Club Mix)
Bundled With A 22”x 22” Poster Of The Cover Art & Bonus 7”
James Brown had several incredibly talented “funky divas” in his late ‘60s and early ‘70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hit maker of that funky JB era.
Her strong voice and commanding stage presence – which earned her the nicknames “The Female Preacher” and “Mama Feelgood” – quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R & B music world like a ton of bricks. As fans young and old know, thanks to its
timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum
smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day.
But Collins was far from a One Hit Wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Brown’s new People Records label – the imprint’s second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers’ “Ain’t No Sunshine”; the socially progressive “Women’s Lib”; the Gamble & Huff-penned “Never Gonna Give You Up” (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra.
All throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown-assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did. Included in this special Get On Down deluxe package is a 22” x 22” poster of the album cover, and a bonus 7-inch of Collins’ 1973 People single, “We Want To Parrty, Parrty, Parrty” with the B Side “You Can’t Beat Two People In Love” which is unavailable on any Lyn Collins full-length.
1. Think (About It)
2. Just Won’t Do Right
3. Wheels Of Life
4. Ain’t No Sunshine
5. Things Got To Get Better
6. Never Gonna Give You Up
7. Reach Out For Me
8. Women’s Lib
9. Fly Me To The Moon
A-SIDE - We Want To Parrty, Parrty, Parrty
B-SIDE - You Can’t Beat Two People In Love
Released during the height of Stax Records’ prominence, 1972’s Fillet of Soul compiled the brightest stars and biggest hits to emerge from the Memphis soul powerhouse. A fantastic collection for fans of “The Memphis Sound,” Fillet of Soul includes such funky favorites as “Never Can Say Goodbye” by Isaac Hayes, “I’ll Take You There” by the Staple Singers, Johnnie Taylor’s “I Don’t Wanna Lose You” and the Bar-Kays’ “Son of Shaft.” Can ya dig it?
1. Isaac Hayes: Never Can Say Goodbye
2. The Staple Singers: Heavy Makes You Happy (Sha-Na-Boom Boom)
3. The Dramatics: Whatcha See Is Whatcha Get
4. Mel & Tim: Starting All Over Again
5. The Bar-Kays: Son of Shaft
6. Frederick Knight: I’ve Been Lonely for So Long
7. Isaac Hayes: The Look of Love
8. The Staple Singers: I’ll Take You There
9. Johnnie Taylor: I Don’t Wanna Lose You
10. Rufus Thomas: The Breakdown (Part 1)
11. Mavis Staples: Since I Fell for You
12. Little Milton: If That Ain’t a Reason (For Your Woman to Leave You)
Includes Two Bonus Tracks "People Say" And "Hey Pocky A-Way"
Funk masters The Meters influenced many groups in Soul music, with their as-tight-as-a-metronome grooves, exciting interplay and infectious vocal group shouts.
The band released Rejuvenation in 1974, their best album to date. The crystal clear production was an improvement on the band's earlier works, maintaining their stripped down song structures and impeccable interlocked grooves while still leaving space for inspired jamming. Contains the hits "Just Kissed My Baby", "People Say" and "Hey Pocky-A-Way". The latter two songs are included as bonus tracks in their Single Version edits.
1. People Say
2. Love Is For Me
3. Just Kissed My Baby
4. What’c Ha Say
5. Jungle Man
6. People Say (Single Version) (Bonus Track)
7. Hey Pocky A-Way
8. It Ain’t No Use
9. Loving You Is On My Mind
11. Hey Pocky A-Way (Single Version) (Bonus Track)
PARTYNEXTDOOR TWO is the second release by Canadian recording artist PARTYNEXTDOOR; it was released on July 29, 2014 by OVO Sound and Warner Bros. Records. The record was supported by the promotional singles "Her Way" and the Drake-assisted single, "Recognize."
1. East Liberty
3. Sex On The Beach
4. Her Way
5. Belong To The City
6. Grown Woman
8. Recognize (feat. Drake)
11. Bout It
Born and bred from the streets of New Orleans, Louisiana enter into the game, 21-year-old August Alsina. With the love and hustle of the Crescent City running through his veins, August is eager to follow in the footsteps of the NOLA music legends that paved his way. Alsina’s first official NNTME/Radio Killa/ Def Jam release, an 8-song EP titled, ‘Downtown: Life Under the Gun’, which offers collaborations between Alsina and Trinidad Jame$ , Kidd Kidd, along with NOLA veteran Curren$y, and Atlanta newcomer Rich Homie Quan. With the August 20th release of his highly anticipated EP August Alsina made 2013 his official coming out party.
2. Make It Home (featuring Jeezy)
3. Right There
4. You Deserve
5. No Love
6. Porn Star
7. FML (featuring Pusha T)
8. Grind & Pray / Get Ya Money (featuring Fabolous)
9. Ghetto (featuring Yo Gotti)
10. Kissin' on My Tattoos
11. Ah Yeah
13. Benediction (featuring Rick Ross)
14. I Luv This Shit (featuring Trinidad James)
15. Numb (featuring B.o.B and Yo Gotti)
The debut album by the American rhythm and blues/jazz-funk fusion group, The Blackbyrds, this eponymous release is the product of six full-time Howard
University students taking the direction of department head and jazz great Donald Byrd into the Fantasy Studios along with the aid of production wizard
Larry Mizell (Jackson 5, Gary Bartz). The end result is nothing less than stunning as the band lays down some of the tastiest groove-oriented jazz music
ever recorded. With Joe Hall on bass and Keith Killgo on drums, the rhythm section anchors a solid foundation capable of keeping the dancefloor full and
providing a base for the rest of the band’s soulful explorations. Kevin Toney supplies supple keyboard work and Barney Perry keeps it funky on the guitar,
setting the pace for what would be a genre-defining LP and a breakthrough in jazz-funk crossover. Essential listening for all fans of jazz, funk, and feel good pop music.
1. Do It, Fluid
2. Gut Level
4. The Runaway
5. Funky Junkie
6. Summer Love
7. Life Styles
8. A Hot Day Today
Ranked 74/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Nobody burrowed more deeply into a song than Otis Redding--hands down, the most emotive, soulful singer the '60s ever produced. Redding's impassioned, sweat-soaked delivery kept him straddling both pop and soul charts until his untimely death in 1967. Here is a 180-gram vinyl exact reproduction of 1965's Otis Blue. Everything is taken from the absolute master tapes in the original mono. Fa-Fa-Fa-Fa-Fa-Fabulous!
1. Ole Man Trouble
3. Change Gonna Come
4. Down In The Valley
5. I've Been Loving You Too Long
7. My Girl
8. Wonderful World
9. Rock Me Baby
11. You Don't Miss Your Water
Tower Of Power is the third album release for the Oakland-based Funk band Tower of Power. This is their most successful album to date, which was released in May 1973. The album peaked at No. 15 on the Billboard Top LPs chart and received a Gold record award for sales in excess of 500,000. The album spawned their most successful single, "So Very Hard to Go". The single peaked at No. 17 on the Billboard Hot 100. Two other singles from the album also charted on the Billboard Hot 100: "This Time It's Real" and "What Is Hip?".
It marked the debut of Lenny Williams being the lead vocalist (though Williams had a solo career prior to joining T.O.P., plus he co-penned the song "You Strike My Main Nerve" from the previous album Bump City [MOVLP1244]). Tower Of Power also introduced the world to saxophonist and future Saturday Night Live band leader, Lenny Pickett, who was the youngest member of the band at the time, replacing original lead sax player Skip Mesquite. Also joining the lineup was organist/keyboardist Chester Thompson and guitarist Bruce Conte, who replaced original guitarist Willie James Fulton.
1. What Is Hip?
2. Clever Girl
3. This Time It’s Real
4. Will I Ever Find A Love?
5. Get Yo’ Feet Back On The Ground
6. So Very Hard To Go
7. Soul Vaccination
8. Both Sorry Over Nothin’
9. Clean Slate
10. Just Another Day
From Sam Cooke's teenage debut as a full fledged member of the legendary Soul Stirrers in 1951 through his career as a rhythm and blues phenomenon
thanks to the recordings for which he is acknowledged as the progenitor of soul music. His hit songs, most of which he wrote, went on to become pop
standards, enduring to this day. Sam Cooke's amazing body of work is encapsulated in Sam Cooke: Portrait of A Legend 1951-1964, the ultimate Sam
Cooke greatest hits package.
1. Touch The Hem Of His Garment
3. You Send Me
4. Only Sixteen
5. (I Love You) For Sentimental Reasons
6. Just For You
7. Win Your Love For Me
8. Everybody Loves To Cha Cha Cha
9. I'll Come Running Back To You
10. Nothing Can Change This Love
11. Sugar Dumpling
12. (Ain't That) Good News
13. Meet Me At Mary's Place
14. Twistin' The Night Away
16. Tennessee Waltz
1. I'll Come Running Back To You
2. Nothing Can Change This Love
3. Sugar Dumpling
4. (Ain't That) Good News
5. Meet Me At Mary's Place
6. Twistin' The Night Away
8. Tennessee Waltz
9. Another Saturday Night
10. Good Times
11. Having A Party
12. That's Where It's At
13. A Change Is Gonna Come
14. Jesus Gave Me Water
15. Soul (Hidden Track)
One of Esther Phillips finest '70s releases, From "A Whisper To A Scream" is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, "Whisper" offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of "Esther Phillips Sings" and "And I Love Him!", her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto "Home Is Where The Hatred Is," Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It’s meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive "From A Whisper To A Scream" (Allen Toussaint) and a staggering "Baby, I'm for Real" (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.
Esther Phillips (vocal)
Pee Wee Ellis (arranger, conductor)
Hank Crawford (alto saxophone)
David Liebman (bassoon, flute)
Eric Gale (guitar)
Gordon Edwards (bass)
Airto Moreira (percussion)
Bernard Purdie (drums)
Recording: December 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
Production: Creed Taylor
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
1. Home Is Where The Hatred Is
2. From A Whisper To A Scream
3. To Lay Down Beside You
4. That's All Right With Me
5. 'tTll My Back Ain't Got No Bone
6. Sweet Touch Of Love
7. Baby, I'm For Real
8. Your Love Is So Doggone Good
9. Scarred Knees
Otis Redding 'Dock of the Bay' on MONO LP here for the first time in a very, very long time. Old school heavy 180g vinyl as well!
This album has both "(Sittin On) The Dock of the Bay" and "Tramp" - true classics.
1. [Sittin' On] The Dock Of The Bay
2. I Love You More Than Words Can Say
3. Let Me Come On Home
4. Open The Door
5. Don't Mess With Cupid
6. The Glory Of Love
7. I'm Coming Home To See About You
8. Tramp - By Otis Redding & Carla Thomas
9. The Huckle-Buck
10. Nobody Knows You (When You're Down And Out
11. Ole Man Trouble