Credits
A1. Timawok – 3:22
A2. Yoyo – 3:57
A3. Comeback Baby – 4:10
A4. Bola Bola – 4:50
B1. My Own Style – 3:35
B2. Afro – 3:30
B3. Sonia – 4:00
B4. Lode – 3:25
B5. Viva Afrika – 3:00
https://ulozto.net/file/L70zzISB6R2s/matadi-dance-my-love-zip
Harold Vick, American soul jazz saxophonist and flutist, born April 3, 1936 in Rocky Mount, North Carolina, died November 13, 1987 in New York City.
The underrated tenor saxophonist Harold Vick had all but vanished from the jazz landscape by the 1977 release of After the Dance — and it’s a shame he didn’t stay lost. Cobbled together from elements of lite jazz, disco, and Motown, Joel Dorn‘s slick production sucks all the life from Vick‘s organic, soulful playing, which seems completely out of step with fusion vets including guitarist Eric Gale and drummer Steve Gadd. Worse yet, this deeply disappointing date would prove Vick‘s last as a leader. At times flashes of brilliance sneak through, but not even Charlie Parker could salvage this mess.
A1. After The Dance – 5:43
A2. Ghetto Fantasy – 6:00
A3. You Are Everything – 5:00
A4. I Go To Rio – 5:31
B1. Things Ain’t Right – 5:54
B2. A Touch Of Your Love – 6:35
B3. In My Life – 4:00
B4. Blue In The Face – 6:33
https://ulozto.net/file/yLAnkoOYHr91/harold-vick-after-the-dance-zip
Significantly different from 1977’s Song Bird, When Love Comes Calling followed Deniece Williams’ success with Johnny Mathis on the number one Hot 100 single “Too Much, Too Little, Too Late” and subsequent album That’s What Friends Are For. Williams signed to Maurice White’s Columbia-affiliated ARC label, but White was otherwise all but absent compared to his level of input on Williams’ first two albums. Williams co-produced and had a hand in the writing of eight songs on this, a Los Angeles album in every respect.
Ray Parker, Jr. and David Foster are the primary collaborators, writing, producing, and playing throughout the album, while L.A.-based session musicians, from arrangers Gene Page and Jerry Hey to a few members of Toto, fill out the extensive lineup. The biggest success was “I’ve Got the Next Dance”, an effervescent slice of galloping disco-pop that topped Billboard’s dance chart. While Williams was reticent to dip into disco and eager to leave it behind, one wouldn’t know from the exuberance she put into the song. Otherwise, the album could be categorized as soft rock as easily as soul, led by peppy songs like “I Found Love” and the title song, which should be as well-known as anything Foster recorded with Hall & Oates. There are some stunning ballads as well, including the mostly strings “Touch Me Again” (co-written with Tennyson Stephens) and the gorgeously unfurling “Why Can’t We Fall in Love?”
Each of Deniece William’s early releases were amazing and great displays of her vocal range and talent. With each release we got to see her grow more and more into herself as a performer and artist. From day one she had the voice of an angel that would send shivers up and down your spine. Her range is unrivaled but even more important is the raw emotion she puts into each song. WHEN LOVE COMES CALLING was her third album and a great step for her career as she ventured more into the pop/mainstream scene. But Ms. Williams never sold out. This is her first pop record and none of her vocal stylings, inspired interpretations or superb song selections is in question. At this time disco was the craze and all artists had to do their disco song. For Deniece Williams it was I’VE GOT THE NEXT DANCE and it is amazing. It is true disco but as with most disco where the beat overpowers the vocals she still shines above the great rhythm and music track. She shines as she puts her soul into this song. Then we have her ventures into pop.
I FOUND LOVE, WHEN LOVE COMES CALLING and TURN AROUND are gems. But her true soul/r’n’b roots are still here in true form. The haunting ARE YOU THINKING is r@b magic and her vocals here are exsquisite building to an amazing chorus. TOUCH ME AGAIN is true Deniece Williams. It is an acoustic ballad with very little instrumentation and an emotional tour de force performance by Deniece. Amazing. LIKE MAGIC is a new sound for Deniece. It is a very uptempo jazzy track and it is amazing to hear her voice run all over the scale. GOD KNOWS and WHY CAN’T WE FALL IN LOVE are beautiful pop ballads.
I cannot recommend this LP enough. It showcases Deniece Williams singing all styles of music and her voice is truly in its prime as is the exsquisite instrumentation. All musicians, song writers and producers step up their game to meet the high standards of Deniece Williams. This is a true must have and I also recommend it to collectors of quality music. This is one of the best singers ever showcased perfectly. Deniece’s vocals soar all over the range and the result is magic. Highly recommended.
A1. I Found Love – 2:38
A2. Are You Thinking? – 4:17
A3. My Prayer – 0:23
A4. I’ve Got the Next Dance – 5:49
A5. Touch Me Again – 5:10
B1. When Love Comes Calling – 3:27
B2. God Knows – 4:09
B3. Like Magic – 3:31
B4. Turn Around – 3:48
B5. Why Can’t We Fall in Love? – 4:30
Philly Sound group People’s Choice, despite high acclaim within Soul, R&B, Funk and Disco circles are among the most underrated of the soul groups that found their home at Philadelphia International Records.Unlike many of the acts championed by Gamble & Leon Huff, People’s Choice were a self-contained outfit performing on the Philly scene since the 60s.
Led by Frankie Brunson, the group was formed out of R&B act The Fashions.After nine R&B hit singles including “I Like’s To Do It” and “Do It Anyway Ya Wanna”, and two hit albums, the group released “Turn Me Loose” in 1978.“Turn Me Loose” explodes out of the blocks with the title track, a heavyweight funk bomb that boasts a great bass line from Stanley Thomas. “Got That Feelin’’ is a straight ahead disco track with singer Valerie Brown giving a strident performance. Don Renaldo’s strings and a jazzy piano solo show a distinctly Salsoul-esque sound.
The tempo is maintained on disco-funk romp “Changin’ My Life”.
Frankie Brunson’s strong baritone takes centre stage as the group charge through this driving performance with lead guitar weaving in and out of the vocals, adding to the fever. “Stay With Me”, as the last track on side A of the original LP release, drops the tempo considerably as one of only two ballads on the album.The street-funk jam of “Rough Ride” is one of the strongest cuts on the album, Brunson and co. in fine form executing a sophisticated groove that rivals many of their contemporaries.
“A Greater Truth,” sees Brunson and Brown – a nice fit – share vocals, delivering a softer, subtler approach on this lighter disco/funk dancer.The harder funk edge of “Your Love Stays On My Mind” has the vocalists doing the opposite and stretching their vocal cords like their life depended on it. The closing track and ballad “Soft And Tender,” showcases Brunson’s rich baritone, a virtuoso violin solo and great synthesizer touches from the legendary Dexter Wansel.
A1 – Turn Me Loose
A2 – Got That Feeling
A3 – Changin’ My Life
A4 – Stay With Me
B1 – Rough-Ride
B2 – A Greater Truth
B3 – Your Love Stays On My Mind
B4 – Soft And Tender
http://ulozto.net/xMRTjQ6N/people-s-choice-turn-me-loose-zip
In 1978, Barry White was basically at the end of his run of greatest popularity. He was near the end of his rope with 20th Century Records. He also had a solo album out in 1978, and between his solo career, Love Unlimited, and the Love Unlimited Orchestra, he’d already had so many records out since 1972 that you practically needed a Barry White 101 course just to keep track of them all.
Having said all that, it would be easy to suspect that his artistic well was running dry by now. I’m pretty sure that this 1978 album from Love Unlimited Orchestra, entitled “My Musical Bouquet”, has never seen any kind of official CD release, as a whole, anywhere in the world, and even an authentic VINYL copy is damn hard to come by (a couple of the tracks on here do appear on the CD “The Best Of Barry White’s Love Unlimited Orchestra”, and “Whisper Softy” is in the track listing of a 2009 box set from Hip-O Records). Even if Barry’s well HADN’T run dry, he probably knew this would receive basically zero promotion from the label and fall largely on deaf ears, which could have undestandably sapped his enthusiasm. But leave it to Barry White to defy all expectations–apart from one throwaway track (the shortest track on the album, conveniently enough!), this is an absolutely fantastic album–if you’re looking for something that’s soothing, melodic, funky, and chills you out all at once, I can hardly think of another album that would do the trick in such an uncanny fashion. Seriously wonderful stuff here.
One of Barry White’s savvy techniques was his keen sense of how to make each album have a certain special ‘gimmick’ (for lack of a better term) to set it apart. On this one, he talks at or near the beginning of every track, usually very briefly, with words that basically fit in with the album’s title (notice the flower theme)–very laidback, nothing along the tormented lines of his famous “Love Serenade Pt. 1”. This device complements the music perfectly, and the musical arrangements on this record are a wonder to behold. But it isn’t all just sheer atmosphere, as the record is brimming with memorable riffs, gorgeous melodies, and complementary background vocal parts courtesy of the Love Unlimited vocalists, typically serving up a memorable chorus to go with what are otherwise basically instrumental compositions, another great technique.
The opening “Don’t You Know How Much I Love You” has a percussive, railroad-style intro section, and after about half a minute, it suddenly gives way to the ‘main melody’ which is gently stated on mellow electric guitar, with a crisp, stuttering drum pattern behind it. Tension is built masterfully through a gorgeous series of chord changes and a deftly executed bass line, and the little variations ‘between the lines’ add just the right amount of additional interest without becoming disconcerting.
“Stay Please and Make Love To Me” is an absolute tour-de-force, with its alternation of intoxicatingly lush ‘makeout’ sections and the playfully mischievous funky parts which are methodically drawn out for tension-building effect, and featuring the girls with their gentle spoken intonations.
“Hey Look At Me, I’m In Love” is, again, a tour-de-force–uptempo, but with a curiously hushed and moody minor-keyed feel, with a mesmerizing wordless vocal section and a great riff that appears fairly close to the end when you’re least expecting it. Even the slightly out-of-tune rhythm guitar only seems to add to its pensive feel.
Side 2 starts off with another masterful uptempo track, the feel-good, yet still sweetly romantic “Love You, Ooh It’s True I Do”. The exquisite “Whisper Softly” is every bit as tender and warm-‘n-fuzzy as you could possibly hope for, and it also works as a cautiously-yearning, yet optimistic mood piece. The closing “Can’t You See” is in a similar, although slightly more relaxed vein, with a memorably echoing piano part that periodically jumps out and grabs your attention.
The one track that really doesn’t do anything is “Enter Love’s Interlude”, which is basically 2 and a half minutes of a typical Barry White chord sequence and nothing of note happening on top of it, and it just happens to have Barry’s one notably cringeworthy spoken bit on the whole album. Still, being positioned where it is in the album, after the first five virtually flawless tracks, and really being quite short in its own right, it could be viewed as a ‘break’ intended to set you up for the splendid last track (I suppose it doesn’t have the world ‘Interlude’ in its title for nothing).
In today’s modern world, you can most likely listen to most or all of the tracks from this album online without a great deal of effort (although perhaps not with the greatest sound quality…). If you’re a fan of Barry’s MUSIC itself (aside from his vocals) and haven’t heard this yet, you’re in for a huge treat. This is definitely a can’t-miss album, and a further demonstration to the moving dedication Mr. White had in regards to offering up the best of the best in music, knowing how to surprise and hook a listener, while always remaining distinctly and inimitably Barry White.
Tracklist
A1. Don’t You Know How Much I Love You – 5:21
A2. Stay Please And Make Love To Me – 6:59
A3. Hey Look At Me, I’m In Love – 7:28
B1. Love You, Ooh It’s True I Do – 4:00
B2. Whisper Softly – 7:32
B3. Enter Love’s Interlude – 2:20
B4. Can’t You See – 6:59
Judy Cheeks’ Ariola album was sadly overlooked in 1978 despite including the hit single Mellow Lovin’ from the year before. Yet the album is full of beautiful, melodic tunes, Judy’s singing is not far from that of Randy Crawford.
Judy Cheeks is a singer and actress who has worked with other musical artists as well having her own solo career in the 1970s and 1980s as a soul and R&B singer, before returning in the 1990s when she released more dance-orientated music.
Born in Miami, Florida, Cheeks is the daughter of gospel legend Rev. Julius Cheeks. Her first recording was a blues album entitled Judy Cheeks produced by Ike Turner in 1973. A tour with Ike & Tina Turner followed. Cheeks moved to Germany in 1977 and recorded a duet with Austrian singer Udo Jürgens. Their performance on The Rudi Carrell Show made Cheeks an overnight success in Europe. In 1978 she recorded “Mellow Lovin’” which became an international hit and reached #10 on the Hot Dance Club Play chart. Her 1978 album Mellow Lovin’ was produced by Anthony Monn (best known for his work with gay icon Amanda Lear) in Giorgio Moroder’s Musicland Studios in Munich.
Cheeks appears as a backing vocalist for Stevie Wonder’s The Woman In Red 1984 soundtrack album, Donna Summer’s Once upon a Time and Rumor Has It albums, Thelma Houston and Jerry Butler’s Just Thelma & Jerry 1977 album, on Amanda Lear’s 1979 album Never Trust a Pretty Face and on Boney M.’s Ten Thousand Lightyears. In 1986, Cheeks worked as a studio musician (providing backing vocals) on Alphaville’s album Afternoons in Utopia.
Cheeks wrote for Jobette Music – Motown. The Jackson 5 recorded one of her songs on their last Motown LP. She did a lot of session work for several major artist while sharpening her song writing skills.
Tracklist
A1. The Little Girl in Me – 4:28
A2. Why Don’t You Kiss Me Baby – 5:58
A3. Suspicious Minds – 4:16
A4. Please Give Me This Night – 3:43
B1. Mellow Lovin’ – 4:10
B2. Darling That’s Me – 4:35
B3. It’s Just a Love Affair Gone – 4:05
B4. Livin’ Easy in the City – 5:20
download: http://ul.to/1y7oemck
Facts of Life is the fifth studio album by American musician Bobby Womack. The album was released on June 8, 1973, by United Artists Records. The album raced to No. 6 on the US Billboard R&B chart. It also charted at No. 37 on the Billboard Pop chart. The album included the hit single “Nobody Wants You When You’re Down and Out” (which charted No. 2 on the Billboard R&B Singles chart).
Tracklist
Genre – Soul, funk
Length – 34:30
Label – United Artists Records
Producer – Bobby Womack
Tracklist
1. Womanly Way – 6:48
2. Too Late… You Lied – 5:53
3. Back To Liberty – 3:35
4. Guys – 4:28
5. I Love My Man – 4:00
6. People Of The World – 3:58
Credits
Mixed By – Tom Savarese
Producer – Christian Engel, S. Tabakov
Tracklist
1. Rock Your Body – 8:04
2. Wake Up – 5:30
3. Running From Your Love – 6:15
4. Do It Good – 4:35
5. Let’s Start The Dance III – 7:09
6. Tell Me You’ll Wait – 4:30
7. Enjoy Your Day – 4:48
Tracklist
1. This Time It’s Forever – 3:45
2. Only In America – 4:00
3. Secret Rendezvous – 3:32
4. Slow Motion – 3:52
5. What Happened To That Girl? – 3:27
6. Rise – 3:55
7. Lady In Amsterdam – 3:41
8. I’m In Love With A Married Woman – 4:30
9. Tomorrow Is Such A Long Time – 3:54
10. Forbidden Lovers – 4:00
11. That’s No Lie – 3:31
12. You’re My Saviour – 4:08
The Soul and Funk Historical 