Aretha Franklin 1972 Young Gifted And Black Rar ((LINK))
Hi guys - On holiday for a week but stopped in to link up Amazing Grace (Atlantic 1972)With Everything I Feel In Me (Atlantic 1974)and La Diva (Atlantic 1979)then I saw Zand's link! hmmmm ... Anyway, I know i'm slow on this but I will post WAV rips of "Almighty Fire" and "La Diva" at my blog in the new year ... already got the best track from "La Diva" up in Wav, see here : -franklin-reasons-why-1979.htmlHave a good break and party the next few days guys, all the best to the Blaxjive crew :)
Aretha Franklin 1972 Young Gifted And Black Rar
In 1963, when Bernie Leadon is a young teen in San Diego, he is invited to join a local bluegrass outfit called The Scottsville Squirrel Barkers. This invitation follows an encounter with two musicians from that group, Ed Douglas and Larry Murray. Among the members of The Scottsville Squirrel Barkers is mandolin player Chris Hillman (1961-1963) (who goes on to greater fame as bassist (1964-1968) for folk rock band The Byrds). Bernie Leadon is brought into the act to replace banjo player Kenny Wertz who left to join the air force in 1963. Wertz will later be part of the 1972 line-up of country rock band The Flying Burrito Brothers. Bernie Leadon has only a short stint with The Scottsville Squirrel Barkers.
Uptown Lounge [The Right Stuff, 1999]Rarely have more black singers I dislike been gathered in one place. Billy Eckstine and Arthur Prysock, Lena Horne and Carmen McRae, Nina Simone and Sarah Vaughan, Lou Rawls and Nancy Wilson, Bobby Short and Sammy Davis Jr.--the grand and the genteel, the expressionistic and the arty, the smarmy and the pop pop pop. But after dozens upon dozens of hi-fi "lounge" comps, at least three of which I tried my damnedest to get through, they all do justice to old songs worth hearing. It's a credible, likable, and enjoyable rendering of the pseudosophistication young ginheads have been promoting since the second coming of Esquivel. The secret is that for once even Short and Horne sound comfortable in their bodies. This is not something I'd ever say about Esquivel or most ginheads. And comfort, ladies and gents, is supposed to be what lounging is about. A-
Finger Poppin' and Stompin' Feet [EMI/Capitol, 2002]This 1960-1962 Allen Toussaint comp starts with two essentials Charlie Gillett failed to bag: the Showmen's "It Will Stand," a show-then-tell improvement on Danny & the Juniors' "Rock and Roll Is Here to Stay," and Ernie K-Doe's "Mother-in-Law," ranked with "The Star-Spangled Banner" by the artist himself. Beyond those and "Ooh Poo Pah Doo," however, it's longer on delicacy than impact. The obscurities are trifles, and as gifted as the young Irma Thomas and Aaron Neville were, the young Toussaint was right to slot them pop. The man is the definitive producer of New Orleans rock and roll. He gave us Lee Dorsey, the Wild Tchoupitoulas, striking solo work. But his signature is a genial accommodation that presaged the tourist mecca the town became. A-
Vee-Jay: The Definitive Collection [Shout! Factory, 2007]Before Motown, Chicago-based Vee-Jay was the biggest black-owned label of the rock and roll era, with a run of r&b and then pop hits stretching from Jimmy Reed's "High and Lonesome" in 1953 to the Dells' "Stay in My Corner" in 1965--and also included the Four Seasons' 1962 "Sherry" and, thanks to Capitol Records' initial stupidity, four of the first nine Beatles' songs to go top 40. But the label failed to survive these unlikely successes--by 1964 or so, it was said to be involved in sixty-four separate legal actions. Vee-Jay had no house style--just a&r man Calvin Carter, who favored the rougher strains of blues and gospel but appreciated every r&b and gospel style, and promo man Ewart Abner, who could schmooze anybody about anything and ended up president of Motown. Reed was its most prolific artist. Label-hopping blues primitivist John Lee Hooker had his biggest singles with Vee-Jay, and apostle of soul cool Jerry Butler his first. Carter also brought the world the supernal doowop of Pookie Hudson's Spaniels and the durable post-doowop of Marvin Junior's Dells. But all these artists are more efficiently accessed on their own collections. What's striking on this four-CD set is the one-shots: young Gladys Knight and aging "5" Royales, cult heroes Rosco Gordon and Pee Wee Crayton outdoing themselves, hot songwriter Hoyt Axton's hokum blues and future record exec Donnie Elbert's falsetto workout. Like most boxes, this one needs its familiar hits and is too long on high-generic collectors' items. But with the worst of eighty-five tracks a lounge-jazz "Exodus," a lot of people were clearly doing something right. [Rolling Stone: 3.5]
Bob Dylan in the 80s: Volume One [ATO, 2014]Direct comparison to Maria Muldaur's and Coulson Dean McGuinness Flint's go-to Dylan covers redounds favorably to this verkakte concept album in which young Americana survivors of varying status and profile interpret stray favorites from the cheesiest period of the great man's catalogue. The anonymity of the multi-artist format turns the fortysomething Dylan into a gifted hack waxing catchy on automatic rather than a pompous preacher instructing the faithful on Dristan. The abracadabra recedes as the selection progresses. But don't miss "Series of Dreams" down at track 13. And then check out the original--the key version of which the preacher, user-friendly as e'er, buried on The Bootleg Series, Vol. 8, and is a damn masterpiece. A-
