I'm sorry, but there will be no d/l's for older posts possible for a few days. My account has -- once again -- exceeded the limits on data transfers. New posts should be okay, however, because I've opened a new account.
Ifound this song on Sir Shambling's, and I understand 100% why he "could listen to the guitarist behind Lee all day long..." In my opinion, A Good Woman is another of these songs whose guitarist almost steals the show from the singer. That doesn't mean, however, that Lee Martell is doing a poor job. On the contrary, he does some great singing -- but what makes the song truly brilliant is the instrumentation. Since Sir Shambling mentions Martell's heavy slant towards Country & Western in his other material, I think this article in the March 1970 Ebony Magazine is about his sister. (He is mentioned in the caption under Linda Martell's pic.)
I am so sad. I can't even begin to explain how sad I really am.
All I can say is that I love his voice, and that it will always be tied to the most beautiful time of my life.
Teddy sure has been "loved back," to quote his song "When Somebody Loves You Back."
When I was posting the clip of him in the sidebar two days ago, I had been searching for news about his health condition. A relatively inconspicuous news article in August 2009 had me suspecting something very serious was going on with Teddy. Now I know the sad truth.
For a December 31, 2007 NPR interview with Teddy, please click here.
Why is it that so many excellent artists have to be discovered by music lovers instead of being presented to them? I came across Lou Courtney -- you guessed it -- via a music blog first. His album I'm In Need Of Love (originally released 1974) has been re-released in 2006 by the Soul Brothers label, and it is a stunner, so to speak. The music reflects mood and flavor of the 70's as I've rarely seen it. And -- it is not one of these albums with two exquisite tracks that redeem the mediocre rest -- each and everyone of the songs is liable to become a favorite of yours. Lou used to sing with the Fifth Dimension between 1978 and 1979.
Instant favorite of mine from the album was The Common Broken Heart.
I know I have a thing about heart-break songs, but this one is too good to skip: Just To Let Him Break Your Heart
And here is a track by Lou from his earlier recordings (to help you forget about the heartaches)
I can't say I like possessive men -- but Sammy describes that unpleasant male possessive/protective instinct as galantly as possible. So, I choose to view his take on the song as using the "tongue-in-cheek" approach the brilliant entertainer was famous for. Of all the 359,756.5 (or so) covers of the song I love his take on the song best. Sammy adds an extra dimension to one of the many -- I admit it -- shallow songs of the 70's era: Some people have a talent for turning the mediocre into the extraordinary. And Sammy Davis Jr. was one of them.
High Heel Sneakers, Sammy Davis Jr. (Something For Everyone, Motown, 1970)
Dennis Edwards has one of the most powerful voices ever! When I found this clip of him at work in the studio, I knew it was time for a(nother) special on him. I won't write much about him, because he is well-known and doesn't need much words to prove what a fine singer he is. His singing tells it all ... (See my other Dennis Edwards posts here.)
This is the clip is showing what it takes to be the perfectionist professional Dennis is.
Young Dennis with The Contours (center, background) Do You Love Me
You're My Aphrodisiac
This is one hell of a rendition of the great Temptations' song! Just listen to David Sea -- he is absolutely fantastic! Dennis Edwards and The Temptations Review: Let It Rain live
In the studio clip above, the song Mary Ann is mentioned (from The Tempts 1976 Wings of Love album) I think I should include the track in this Special because Dennis is definitely doing a fantastic job on that album.
I am thoroughly ashamed of the fact that I never posted Paul Williams led Temptations material. He was one of the great Classic Five Tempts (David Ruffin, Eddie Kendricks, Otis Williams, Melvin Franklin, Paul Williams.) Temptations fans generally consider Paul the most soulful singer of the group -- a claim I wholeheartedly support. During the pre-Motown phase of the group, Paul was responsible for their choreography; as can be seen in this clip, he was the smoothest dancer of them all. (Paul is on the right in the back.)
An early bio describes Paul Williams as follows: "Height: 6'1 Voice: Baritone Favorite colors: Green & White Hobby: Interior Decorating
Paul Williams is the joker of the group, particularly enjoying telling jokes on himself. He has the compact solidity of the ex-football player that he is. He studied to be a cobbler in Birmingham, Alabama where he grew up, but his parents are very glad now of the choice he has made of a vocation. Besides his singing and dancing ability, Paul also plays the guitar, bass and some piano and says his favorite "hate" is wrong notes. He is interested in interior design and lists it as a hobby, with colors being particularly important to him. His favorites are green and white. Being one of nine children, he finds it no hardship to adjust to the confinement of a group of five when on a long series of traveling engagements."
Mandrill was formed by three brothers: Carlos Wilson (trombone, vocals), Lou Wilson (trumpet, vocals) and Ric Wilson (sax, vocals). Born in Panama, they grew up in Broollyn NY. The band included Bundy Cenac (Bass), Neftali Santiago (drums, percussion, vocals), Juaquin Jessup (lead guitar, percussion, vocals), Charles Padro (drums), Claude 'Coffee' Cave II (keyboards, percussion, vocals) and Fudgie Kae Solomon (bass) and Omar Mesa (Guitar). They are a Funk band, but they also combined latin, salsa, rock, soul and blues to create their own very distinct style.
House of Wood is a real dark song ... If you're brooding over life's downs, you'd better not listen.
"After singing with the Falcons, Wilson Pickett, backed by the Supremes, recorded this his solo debut. It was the first release, for the Correc-Tone label, of Detroit, a small independent run by Wilbur Golden. It was his only release for the label but was picked up that same year by Cub records of New York a bigger independent and issued on Cub 9113. From Correc-Tone Wilson Pickett moved on to Double L for three issues, until recording for Atlantic in 1964." (From: http://www.johnnyspencer.info/index.html)
Let Me Be Your Boy
I did not believe that this should be Wilson; he sounds completely different than I've ever heard him.
Ich habe beschaemt festgestellt, dass ich fast ausschliesslich in Englisch poste; dabei habe ich doch so viele deutsche Leser. Also habe ich mir fuer das noch knusprig-frische Jahr vorgenommen, auch mal wieder was in meiner Muttersprache von mir zu geben.
Und weil ich auch die Damen der Musik straeflich vernachlaessigt habe, gibt's gleich als erstes einen Song von Barbara West. Anyone But You ist auf Dave Godin's Deep Soul Treasures: Taken From Our Vaults, Vol. 2 zu finden.
Allen Paaren/Paerchen, die sich im neuen Jahr bereits gestritten haben, empfehle ich zu diesem Song ganz eng aneinander gekuschelt zu tanzen: Augen zu! Und den Streit einfach vergessen ...
2010gets off the ground funkayyyyyyyy with Wornell Jones. And again, I have to admit that I didn't know this artist until I came across his music online -- about 30 years after his album "Wornell Jones" was released. See! There are still undiscovered gems waiting to be found ... At least for me.
His voice immediately reminded me of Donny Hathaway's; thank goodness, however, Wornell's vocals appeal to me not nearly as lamenting and tormented as Donny's. He's got the throaty, pleading Hathaway quality without the melancholic touch.
Fall In Love Again, my pick for this post,is 70's Funk deluxe. The song made it into my fav's playlist right away. The only thing I don't like about it is that it is way too short. It leaves me wanting for more of that driving rhythm ...
Here's a short bio of Wornell Jones. I must say, I was surprised to read all the glamorous names he was associated with back in the day: Joe Simon, Eddie Kendricks, Rufus ...Quite impressive resume! But the main part of his contribution to music was as a musician in the background; his self-titled album, it seems, remained the burst out into the open in his career.
"Born in Washington D.C., Wornell Jones grew up in the neighbourhoods of the area.
As a youngster, Wornell was always playing, singing or doing something musical.
After playing in local bands in D.C., Wornell began undertaking studio sessions in the early seventies for soul artists including Millie Jackson, Joe Simon, and other groups and artists.