Don't Be Cruel - Hound Dog! 7'' Single - Elvis Presley 1956

Single by Elvis Presley

A-side "Don't Be Cruel"
B-side "Hound Dog"
Released July 13, 1956
Format 45 rpm, 78 rpm single
Recorded July 2, 1956, New York
Genre Rock and roll
Label RCA Records
Writer(s) Otis Blackwell, Jerry Leiber-Mark Stoller & Elvis Presley
Producer Steve Sholes, Elvis Presley
Certification Gold
For the Bobby Brown album, see Don't Be Cruel (album).
For the Bobby Brown song, see Don't Be Cruel (Bobby Brown song).
"Don't Be Cruel" is a song by Otis Blackwell, which was recorded by Elvis Presley in 1956.
It was inducted into the Grammy Hall of Fame in 2002. In 2004, it was listed #197 in Rolling
Stone's list of 500 Greatest Songs of All Time. The song is currently ranked as the 92nd greatest
song of all time, as well as the fifth best song of 1956, by Acclaimed Music.
"Don't Be Cruel" was originally the A side of RCA single 47-6604, with "Hound Dog" on the B-side,
although both sides became chart-toppers, RCA reissuing the single in later decades as double A-side.
The single was the first to top all three extant Billboard charts: pop, rhythm & blues, and country & western.
The song was recorded for RCA Victor by Elvis' regular band of Scotty Moore on lead guitar
(with Elvis usually providing rhythm guitar), Bill Black on bass, D.J. Fontana on drums and
backing vocals from the Jordanaires. Presley recorded this song on July 2, 1956 at RCA's New York City studio.
The producing credit was given to RCA's Steve Sholes, however the studio recordings reveal that Elvis
produced the songs in this session (as well as many others) himself, which is verified by the band members.
Presley selected the song, reworked the arrangement himself on piano, and recorded twenty-eight takes of the
song with the band (number 28 being the take released on the record) during one recording session following
the thirty-one takes of "Hound Dog" (number 31 being released on the record) recorded that day.
"Any Way You Want Me" was also recorded in that same session following "Don't Be Cruel".
"Don't Be Cruel" and "Hound Dog" were released on July 13, 1956.
Presley reworked the Otis Blackwell demo and changed the music and lyrics, just as he did to other compositions by Blackwell.
Hence the reason he received co-songwriting credit.
Presley, Scotty, Bill, DJ, and the Jordanaires first performed "Don't Be Cruel" on national television on the September 9,
1956 the Ed Sullivan Show. They revisited the song twice more when appearing on the Sullivan Show:
October 28 of the same year, and on January 6, 1957.
The record, listed as "Don't Be Cruel/Hound Dog" at the time of its release,
hit #1 on the Billboard Hot 100 the week ending August 18, 1956, and remained in the top position for 11 consecutive weeks,
tying it with the 1950 Anton Karas hit The Third Man Theme and the 1951/1952 Johnnie Ray hit Cry for the longest stay at
number one by a single record until 1992's smash "End of the Road" by Boyz II Men.

Cronologicamente as duas faixas só seriam publicadas em LP na compilação Elvis’ Golden Records em 1958. A reedição de seu segundo album Elvis em CD em 1999 trouxe as faixas como bônus. Capa e selos no arquivo, este é pra fechar o ano. Bom Ano Novo aos visitantes e a toda família Arquivo e Original.

Link do Arquivo

Further Adventures of Jimmy and Wes - Jimmy smith & Wes Montgomery 1966

Citei este play no post do Howard Roberts, mas verifiquei que o mesmo não havia sido postado. Como alguém vai ter a noção do som sem ter ouvido né? Ei-lo aqui.

Jimmy e Wes

A união dos estilos de Jimmy e Wes Motgomery foi instantânea. Assim que se conheceram,
foram ao estúdio e o som começou a fluir. Era como se tivessem tocado juntos a vida toda.
A sonoridade limpa, cheia e grave da guitarra de Wes serviu de modelo para toda a geração
seguinte de guitarristas; e somada ao som de Jimmy, surgiram diferentes visões do Blues,
Jazz e Soul com explosivos solos, muito swing e bom gosto. A junção Big Band, Jimmy Smith e Wes
aconteceu no disco gravado em Setembro de 1966: Jimmy and Wes: Dynamic Duo. 
Trazendo as famosas musicas Night Train e Down By the Riverside. Logo após,
saiu uma continuação destas sessões: Further adventures of Jimmy and Wes, marcada com a belíssima
lenta Maybe September, onde Jimmy começa sozinho, fazendo os baixos somente na pedaleira,
a mão esquerda em acordes de impensáveis inversões;
Há também a fantástica OGD - Road Song, plácido tema sob um empolgante swing latino.
Wes faleceu em 1968, mesmo com muitas gravações póstumas lançadas de Wes, esta dupla não gravou novamente.
Porém outros duos com guitarristas sugiram, caso do The Boss, com George Benson.

Tracklist:

1   King Of The Road  
2   Maybe September  
3   OGD (aka Road Song) 
4   Call Me  
5   Milestones  
6   Mellow Mood

A título de curiosidade o primeiro album The Dynamic Duo, tras um take alternativo de O.G.D. Em breve o estarei postando.

Link do Arquivo

Aproveitando o ensejo deste album, reposto os três albums do mestre do Hammond Piano que estavam com links vencidos

Got My Mojo Working , Organ Grinder Swing e The Cat .

Rapaziada infelizmente este servidor só está ficando com os links ativos por 14 dias, voltando ao modo privado.

Aos visitantes do blog, vamos comentar os plays postados aí rapaziada, muitos discos estão sem nehum comentário.

Particularmente, não gosto de ver estatísticas dos servidores,para saber se pelo menos o disco foi baixado.

H.R. Is A Dirty Guitar Player -The Howard Roberts Quartet 1963

Este som vem sendo tocado com uma certa frequência nos bailes de Nostalgia Moderna, por aí afora, apesar de não ser tão novinho assim.

A faixa Dirty Old Bossa Nova, foi sampleada por A Tribe Called Quest na faixa Jam de 1996, que vocês podem conferir neste link. Destaque também para a faixa Deep Fry, quem curtiu o play do Jimmy Smith com Wes Montgomery: The Further Adventures James and Wes, é um prato cheio.

Biografia

Roberts was born in Phoenix, Arizona, and began playing guitar at age 8.
By the time he was 15 he was playing professionally locally.
In 1950 he moved to Los Angeles. There, with the assistance of Jack Marshall,
he began playing with musicians including Bobby Troup, Chico Hamilton and Barney Kessel.
In about 1956, Bobby Troup signed him to Verve Records as a solo artist.
Around that time he decided to concentrate on recording,
both as a solo artist and session musician, a direction he would continue until the early 1970s.
Roberts played rhythm guitar, lead guitar, bass and mandolin,
both in the studio and for television and movie projects, including lead guitar
in the theme from The Twilight Zone, guitar on the theme from The Munsters
and rhythm guitar on the theme from I Dream of Jeannie.

Artists Roberts backed included Georgie Auld, Peggy Lee (Fever),
Eddie Cochran (Sittin In The Balcony), Bobby Day (Rockin Robin),
Jody Reynolds (Endless Sleep), Shelley Fabares (Johnny Angel),
Dean Martin (Houston), The Monkees, Roy Clark, Chet Atkins, and The Electric Prunes.

In 1963, Roberts recorded Color Him Funky and H.R. Is A Dirty Guitar Player,
his first two albums after signing with Capitol. Produced by Jack Marshall,
they both feature the same quartet of with Roberts (guitar),
Chuck Berghofer (bass), Earl Palmer (drums) and Paul Bryant
alternating with Burkley Kendrix on organ. In all he recorded nine albums
with Capitol before signing with ABC Records/Impulse! Records.

From the late 1960s, Roberts began to focus on teaching rather than recording.
He traveled around the country giving guitar seminars, and wrote several
instructional books. For some years he also wrote an acclaimed column Jazz Improvisation
for Guitar Player magazine. To support his teaching activities, he founded the
Guitar Institute of Technology, and Playback Publishing.

Roberts died of prostate cancer in Seattle, WA on June 8, 1992.
His wife Patty, also active in musical education and
curriculum development, continued in this field after his death.

Howard Roberts Quartet, The - H.R. Is A Dirty Guitar Player
Label:Capitol Records
Catalog#:T1961
Format:Vinyl, LP

Country:US

Released:1963

Genre:Jazz

Tracklist

A1   Watermelon Man 2:25 
    Written-By - Herbie Hancock 
A2   Smolderin' 2:48 
    Written-By - Howard Roberts 
A3   Li'l Darlin' 3:07 
    Written-By - Neal Hefti 
A4   Turista 2:08 
    Written-By - Howard Roberts 
A5   If Ever I Would Leave You 2:58 
    Written-By - Al Lerner , Frederick Loewe 
A6   One O'CLock Jump 2:48 
    Written-By - Count Basie 
B1   Deep Fry 2:23 
    Written-By - Howard Roberts 
B2   Rough Ridin' 2:24 
    Written-By - Fitzgerald* , Jones* , Tennyson* 
B3   Satin Doll 2:50 
    Written-By - Duke Ellington 
B4   Smokin' 2:12 
    Written-By - Howard Roberts 
B5   One Note Samba 2:30 
    Written-By - Antonio Carlos Jobim , Newton Mendonça 
B6   Dirty Old Bossa Nova 2:13 
    Written-By - Howard Roberts 

Credits
Bass - Chuck Berghoffer*
Drums - Earl Palmer
Guitar - Howard Roberts
Organ - Burkley Kendrix

 Fonte

Link do Arquivo

Non È Facile Avere 18 Anni (Meus 18 Anos) - Rita Pavone 1964 (RCA)

Antes de apresentar o disco um pouco de história:

Música Italiana: Surge Jerry Adriani

Tony Campello estava gravando um disco italiano, ao mesmo tempo em que Ed Wilson,
já em carreira solo, cantava "Sabor de Sal" (versão de Hélio Justo para "Sapore di Sale",
de Gino Paoli), antes de poder gravar um primeiro compacto de rock: O Carro do Papai,
futuro sucesso presenteado pelo irmão Renato, que o acompanhava na gravação com os
Blue Caps.
Mas o grande intérprete de música italiana no Brasil viria a ser o paulista, nascido
em 1947, Jair Alves de Souza, mais conhecido como Jerry Adriani. Tendo iniciado a carreira
em São Caetano do Sul, como crooner de bandinhas locais e também como cantor solo,
acabou chegando à CBS e entrou em estúdio em junho de 1964, para gravar um álbum
que seria emblematicamente intitulado Italianíssimo. O disco, que trazia no repertório
sucessos como "Abbronzatissima", "Sapore di Sale", "Oh Mio Signore" e "Una Lacrima Sul
Viso", era esteticamente perfeito. Mas não vendeu tanto, apesar de, na mesma época,
Tony Campello e Ed Wilson terem gravado algumas daquelas músicas. O próprio Wilson
Miranda, em sua fase entre o rock e a bossa nova (naquele ano ele lançaria um disco
acompanhado pelo conjunto de Roberto Menescal), lançou um disco chamado Ó, Meu Senhor,
que abria exatamente com uma versão de Paulo9 Queiroz para "Oh Mio Signore". Outra faixa
que também aproveitava a onda italiana das paradas brasileiras era "Una Lacrima Sul Viso",
sucesso na gravação de Bobby Solo, de forma que Jerry se tornou o principal intérprete
para a música italiana romântica. A música jovem, mais roqueira, de Rita Pavone e seus
contemporâneos, vinha fazendo mais sucesso com a versão "Datemi Un Martello". Era o
começo de sua chegada ao mercado brasileiro, que teve no grupo The Clevers um forte
apoio. Em seu compacto duplo The Clevers Internacional, lançado no segundo semestre de 64,
os rapazaes paulistanos gravariam não só "Datemi Un Martello" como também "Sul Cucuzzolo".
Mas é claro que mantinham um pé no repertório de Trini Lopez, fechando o disquinho
com uma versão de "Michael". O motivo do envolvimento dos Clevers com a música italiana
ia além do universo das notas musicais. É que Rita Pavone estivera no brasil em meados
1964 e começara um namoro com o baterista Netinho - tão intenso que quando ela fez
17 anos no dia 26 de Agosto, ele a presenteou com um martelo de ouro! O grupo acabou sendo
levado à Itália nos meses seguintes, para fazer diversas apresentações, inclusive no
Festival de Veneza. E voltou para o Brasiltrazendo diversas músicas italianas inéditas,
para serem gravadas no repertório do próximo disco, dentre as quais estariam "In Ginocchio
Date", "É Inutile" e "L'Uomo Per Me".
A letra do sucesso "Scrivi", de Rita Pavone, que chegou ao terceiro lugar do IBOPE em
25 de Outubro, ultrapassando a própria "Datemi Un Martello" - comentava-se na época -
é inspirada no namoro à distancia com Netinho. Qualquer compromisso profissional que
pudesse reunir a cantora italiana ao grupo brasileiro era portanto benvindo, razão
pela qual uma nova turnê da cantora pela Argentina e pelo Uruguai, com abertura dos Clevers
foi imediatamente providenciada para dezembro. O LP Meus 18 Anos de Rita chegou ao primeiro
lugar naquele mesmo 25 de Outubro, na frente inclusive do disco Beatles Again dos fab
four;enquanto na parada de compactos, "Adorabile" (em 2º lugar, atrás do "Calhambeque" de
Roberto Carlos) também mantinha a cantora na frente dos Beatles, em 3º lugar
"Twist and Shout". A cantora Rosemary, que ainda não havia alcançado pleno exito em
sua carreira pela RCA, passaria a cantar e a dançar no estilo de Rita - muito embora
Cidinha Santostenha estreado com a versão "Escreva-me" na mesma RCA.

Retirado do Livro de Marcelo Fróes: Jovem guarda: Em Ritmo de Aventura. Leitura recomendada.

Um detalhe curioso, a edição italiana do disco não saiu com a música Datemi un Martello, só veio a ser publicada na edição brasileira do disco que recebeu o nome de Meus 18 Anos, sendo retirada do Tracklist nacional a faixa Cuore (Heart). Abaixo segue o tracklist completo.

Traclist:

01 Datemi Un Martello
02 Non É Facile Avere 18 Anni
03 Somigli Ad Un' Oca   
04 Ti Vorrei Parlare
05 Si Fosse Un Uomo
06 Quando Sogno
07 Cuore (Heart)
08 Che M'importa Del Mondo
09 Son Finite Le Vacanze
10 Bianco Natale
11 Non C'è Un Pò Di Pendimento
12 Sotto Il Francobollo
13 Auguria A Te

Link do Arquivo

Hit The Road Jack - The Danger Zone Single 7'' - Ray Charles 1961

Ray Charles And His Orchestra - Hit The Road Jack / The Danger Zone

Label: His Master's Voice

Catalog#: POP 935

Format: Vinyl, 7", Single

Country: USA

Released: 1961

Genre: Funk / Soul

Style: Rhythm & Blues

Tracklist

A         Hit The Road Jack   
        Vocals - Raelets, The* , Ray Charles
B         The Danger Zone   
        Vocals - Ray Charles

Selos e capa no arquivo, estranhamente não localizei nenhum album que contenha a faixa Hit the Road Jack, cronologicamente ela só teria saído em LP no disco Ray Charles Greatest Hits em 1962 (ABC Paramount), que nada mais é do que uma reunião dos seus singles anteriores.

Link do Arquivo

Compacto Birdie, Hold It – Bill Doggett 1958

William Ballard Doggett (February 16, 1916 – November 13, 1996) was an American jazz and rhythm and blues pianist and organist.

Born in Philadelphia, Pennsylvania, his mother, a church pianist, introduced him to music when he was 9 years old. By the time he was 15, he had joined a Philadelphia area combo, playing local theaters and clubs while attending high school.

He later sold his band to Lucky Millinder, and worked during the 1930s and early 1940s for both Millinder and arranger Jimmy Mundy. In 1942 he was hired as The Ink Spots' pianist and arranger.

In 1949, he replaced Wild Bill Davis in Louis Jordan's Tympany Five. It was there that he first achieved success playing the Hammond organ and he is also reputed to have written one of Jordan's biggest hits, "Saturday Night Fish Fry", for which Jordan claimed the writing credit.

In 1951, he organized his own trio and began recording for King Records. His best known recording is "Honky Tonk," a rhythm and blues hit of 1956 which sold four million copies, and which he co-wrote with Billy Butler. He won the Cash Box award for best rhythm and blues performer in 1957, 1958, and 1959. He also arranged for many bandleaders and performers, including Louis Armstrong, Count Basie, Ella Fitzgerald, and Lionel Hampton. He continued to play and arrange until he died of a heart attack in New York City.

As a jazz player Doggett started in swing music and later played soul jazz, a field in which rhythm and blues organists were highly sought after. His band included saxophonists Red Holloway, Clifford Scott, Percy France, David "Bubba" Brooks, Floyd "Candy" Johnson, guitarists Floyd Smith, Pete Mays, and singers Toni Williams and Betty Saint-Clair.

 

Capa do Album, não do compacto.

Bill Doggett - Birdie / Hold It

Label: King Records (3) Catalog#: 45-5149 Format: Vinyl, 7", 45 RPM Country: US Released: 1958 Genre: Funk / Soul Style: Rhythm & Blues, Soul Notes: Runout Groove Side A: K-45-8950-1 Runout Groove Side B: K-45-10126-1 Track A published by Jay & Cee (BMI) Track B published by Islip (BMI)

Tracklisting:

A Birdie (Buster Harding)
B Hold It (Butler Scott)

Informações do compacto www.discogs.com

Link do Arquivo

Live at The Olympia, Paris – James Brown 1971 Vídeo em .avi

Show gravado pela TV Francesa em 1971, que posteriormente foi transformado em disco, com o título: Love, Power, Peace em 1992.

Os links aqui postados não me pertencem, mas como achei de suma importância, postar esta verdadeira raridade, ei-los aqui. Ao filnal da postagem indico a fonte dos links.

Personnel:
James Brown (vocals, organ)

Bobby Byrd (M.C., vocals, organ)

Phelps "Catfish" Collins, Hearlon "Cheese" Martin (guitar)

St. Clair Pinckney (tenor saxophone)

Darryl "Hasaan" Jamison, Clayton "Chicken" Gunnells (trumpet)

Fred Wesley (trombone)

William "Bootsy" Collins (bass)

John "Jabo" Starks, Don Juan "Tiger" Martin (drums).

David Mathews (Orchestration)

Track List:

"Brother Rapp"
"Ain't It Funky"
"Georgia On My Mind"
"Sunny"
"I Feel Like Loving You" performed by Vicky Anderson
"Yesterday" performed by Vicky Anderson
"It's A New Day"
"Bewildered"
"Get Up (I Feel Like Being A) Sex Machine"
"Try Me"
"Papa's Got A Brand New Bag"
"I Got You (I Feel Good)"
"I Got The Feelin'"
"Give It Up Or Turn It Loose"
"It's A Man's World"
"Please Please Please"
"Sex Machine Reprise"
"Super Bad"
"Get Up, Get Into It, Get Involved"
"Soul Power."

O Arquivo está dividido em 7 partes que devem ser descompactados numa mesma pasta, resultando no video em .avi.

Pt.1, Pt.2, Pt.3, Pt.4, Pt.5, Pt.6 e Pt.7

Fonte dos Links

Minha opinião pessoal, o melhor show que já assisti do mestre.

Soul do Groovie Vol. 01

 

Pois é, estava demorando um pouco em postar esta coleção, escolhida a dedo pelo Dj Caverna, autorizada pelo mesmo a ser publicada no site. Conheço o Caverna desde os idos de 1998, eu caçando alguma coisa de James Brown e tal, na época ele trabalhava na Gringos lá na Galeria 24 de Maio. Me deu a maior atenção, entregando o que eu estava procurando, e mais alguma coisa em termos de samplers, algo que na época, eu sequer tinha noção do que se tratava. Escutava os Raps Nacionais da época e já desconfiava de alguma coisa, ele foi me explicando sobre os esquemas dos samplers. Na ocasião adquiri meu primeiro sampler, Knuclehead que estava na coletânea do Grover Washington Jr, que só conhecia pelo Rap gringo do King Tee -  Played Liked Piano. Ao Longo desse tempo, da condição de cliente passei a amigo pessoal, dele. Através do mesmo, conhecia algumas personalidades do Rap Paulista, o que agradeço imensamente. Também é dono de uma invejável coleção de Rap Old School, assim como o Dj Pantera, outro parceiro, que também me passa alguns sons.

 

Track List:

   01 Cold Feet - Albert King                  
   02 Cramp Your Style - All The People           
   03 Home Brew - Arthur Adams                  
   04 Laid Back Funk - Darkness of Evil             
   05 Watermelon Man - East Harlem Bus Stop             
   06 Funky School - Fred Wesley               
   07 I Wanna Do It - Harvey Scales              
   08 Can´t Sit Down - Honky             
   09 Super Bad - Idris Muhammad                  
   10 I´ll Hold The Groove - Miami       
   11 Glide - Pleasure                      
   12 Boogie Joe The Grinder - Quincy Jones     
   13 The Jackal - Ronny Jordan                 
   14 Fatbackin - The Fatback Band                  
   15 One More Mile - The James Cotton Band              

 

   Link Original

The Chronic – Dr. Dre (samples Originais) 1992

Pois é havia falado sobre sampler no post do Grover Washington Jr., eis que após algumas consultas, na net e aos parceiros Dj Caverna e Dj Pantera, apresento esta compilação somente com os samplers Originais utilizados no album.

Um dos maiores e mais importantes trabalhos da história do Rap. É assim, sem maiores exageros que “The Chronic” costuma ser classificado. A estréia de André Young, mais conhecido como Dr. Dre, foi lançada originalmente em 1992, transformou por completo e deu as diretrizes desse estilo de música, que seriam seguidas futuramente.

Sem os companheiros Ice Cube e Eazy-E, do NWA, ele compôs e produziu um disco cheio de melodia, baixos marcantes e deu origem ao G-funk (como ele mesmo intitulou), que seria o Gangsta Rap do jeito que ele é feito até hoje. O álbum saiu pela gravadora Death Row Records, que Dr. Dre havia acabado de formar com Suge Knight, envolvido em diversos negócios ilegais.

As letras falam de violência, sexo, comunidade e sobre a vida na periferia, com rimas ora rápidas, ora mais arrastadas e tudo, claro, carregado de palavrões. Alguns exemplos são “Nuthin’ but a G Thang”, “A Nigga Witta Gun” e “Rat-Tat-Tat-Tat”, está última, aliás, uma das melhores de todo o trabalho. Outros destaques ficam com as faixas “Let Me Ride”, “Lyrical Gangbang”, “Stranded On Death Row” e “The Roach (The Chronic Outro)”.

Como se não bastasse toda a importância de “The Chronic” no Rap e no Hip Hop, o disco ainda apresentou ao mundo um novato, que dava seus primeiros passos na época. Trata-se de Snoop Dogg Doggy, que divide algumas linhas de voz com Dre e é, atualmente, um dos maiores nomes da cena.

Fonte: Canal Pop do Terra.

Set List:

1 - “Impeach The President” by The Honey Drippers
     Sampled in “The Chronic (Intro)”

2 - “Get Out of My Life, Woman” by Solomon Burke
     Sampled in “The Chronic (Intro)”

3 - “Funky Worm” by The Ohio Players
     Sampled in “The Chronic (Intro)”

4 - “Country Cooking” by Jim Dandy
     Sampled in “The Chronic (Intro)”

5 - “Atomic Dog” by George Clinton
     Sampled in “Fuck wit Dre Day (and Everybody’s Celebratin’)”

6 - “(Not Just) Knee Deep” by Funkadelic
     Sampled in “Fuck wit Dre Day (and Everybody’s Celebratin’)”

7 -“Funkentelechy” by Parliament
    Sampled in “Fuck wit Dre Day (and Everybody’s Celebratin’)”

8 - “The Big Bang Theory” by Parliament
     Sampled in “Fuck wit Dre Day (and Everybody’s Celebratin’)”

9 - “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)” by Parliament
     Sampled in “Fuck wit Dre Day (and Everybody’s Celebratin’)”

10 - “Mothership Connection (Star Child)” by Parliament
      Sampled in “Let Me Ride”

11 - “Swing Down, Sweet Chariot (Live)” by Parliament
      Sampled in “Let Me Ride”

12 - “Kissin’ My Love” by Bill Withers
      Sampled in “Let Me Ride”

13 - “Funky Drummer” by James Brown
      Sampled in “Let Me Ride”

14 - “Love’s Gonna Get’Cha (Material Love)” by Boogie Down Productions
      Sampled in “The Day the N***az Took Over”

15 - “I Wanna Do Something Freaky to You” by Leon Haywood
      Sampled in “Nuthin’ But a ‘G’ Thang”

16 - "Uphill (Peace of mind)” by Frederick Knight
      Sampled in “Nuthin’ But a ‘G’ Thang”

17 - “Little Ghetto Boy” by Donny Hathaway
      Sampled in “Lil Ghetto Boy”

18 - “Who’s the Man (With the Master Plan)” by The Kay Gees
      Sampled in “A N***a Witta Gun”

19 - “Friends” by Whodini
      Sampled in “A N***a Witta Gun”

20 - “Vegetable Wagon” by Donny Hathaway
      Sampled in “Rat-Tat-Tat-Tat”

21 - “Brothers Gonna Work It Out” by Willie Hutch
      Sampled in “Rat-Tat-Tat-Tat”

22 - “Pot Belly” by Lou Donaldson
      Sampled in “Rat-Tat-Tat-Tat”
23 - “Papa Was Too” by Joe Tex
      Sampled in “The $20 Sack Pyramid”

24 - “Damn” by The Nite-Liters
      Sampled in “Lyrical Gangbang”

25 - “When the Levee Breaks” by Led Zeppelin
      Sampled in “Lyrical Gangbang”

26 - “Do Your Thing” by Isaac Hayes
      Sampled in “Stranded on Death Row”

27 - “If It Don’t Turn You On (You Outta Leave it Alone)” by B.T. Express
      Sampled in “Stranded on Death Row”

28 - “P-Funk (Wants to Get Funked Up)” by Parliament
     “The Roach (Outro)” is a cover version of “P-Funk”

29 - “Adolescent Funk” by Funkadelic
      Sampled in “Bitches Ain’t Shit”

30 - “Big Sur Sweet” by Johnny Hammond
      Sampled in “A N***a Witta Gun” and “High Powered"

Link Original

Por um descuido meu, a faixa 30 não foi para o arquivo, mas disponibilizo o link da mesma solta:

“Big Sur Sweet” by Johnny Hammond

E, pra quem ainda não tiver o album em questão e quiser dar uma conferida no play segue o link:

The Chronic - Dr.Dre 1992

Um agradecimento especial, aos Djs Caverna e Pantera, e também ao mano Claudir, da comuna Originais do Rap, sem os quais este projeto não seria levado em frente. Falando em Dj Caverna, garanto para o próximo post iniciar uma coleção com 12 Vols. com o melhor do Sampler, Soul & Grooves devidamente autorizado pelo mesmo a publica-la.

Let’s Dance – Vamos Dançar 2000

Este Play me traz boas lembranças, dos idos de 1992. Tinhamos uma pequena equipe de baile e os componentes eram meu irmão Odair, mais dois parceiros Amaury (Grilo) e Luiz (Grande) e eu, como a situação nem sempre foi boa, nós adquiriamos somente os vinis piratex que rolavam na Galeria 24 de Maio. Tendo pouca coisa realmente original. E vai que o Luiz nos apresenta um amigo dele (só não me recordo o nome do cara) do mesmo bairro que não conhecíamos ainda, chegamos na casa do cara, qual não foi a nossa surpresa, o cara tinha tudo o que tocávamos no baile mas só originais,  até mesmo as coletânes da época, o cara era apenas colecionador não tocava em bailes. Ele fez um empréstimo de algumas bolachas ao Luiz e este também estava no meio, já tinho gosto foi aí que me interessei mais ainda. Não me recordo mas a capa do LP do Mr. Soul não é um pouco parecida com esta? Ah, ano 2000 refere-se a reedição em CD pela Rythm and Blues.

 

Set List:

   01 Same Beat                 
   02 It´s All Right Now         
   03 Express Yourself           
   04 You Make Me Feel Like Dancing
   05 Fact of Life               
   06 Check My Machine           
   07 You Don´t Know-Rational Culture
   08 Mexican Divorce

   Link Original

20th Century Masters - The Millennium Collection- The Best of Grover Washington, Jr 2000

Coletânea de um dos ícones do Jazz-Funk, destaque para a faixa 6,

Sampler descarado do Rap: Played Liked Piano do King Tee. Pô falando em sampler, estou preparando algo relacionado a isso para os póximos posts. Vem coisa boa aí!!!!!!!

   Set List:

   01 Mister Magic               
   02 It Feels So Good           
   03 A Secret Place             
   04 Do Dat                     
   05 Inner City Blues (Make Me Wanna Holler)
   06 Knucklehead               
   07 I Can't Help It            
   08 Snake Eyes                 
   09 No Tears (In the End)

   Link do Arquivo

   As capas frente, verso e encartes estão no arquivo, sendo elas provenientes

   do Cd Importado, adquirido por mim, iniciando minha coleção de samples,

   lá pelos idos de 2001.

Sharon Jones

SHARON JONES AND THE DAP-KINGS

Sharon Jones was born Sheron Lafaye Jones in Augusta, Georgia on May 4th 1956.  Her mother moved to Brooklyn soon thereafter, however Jones was sent down south for a few months every year to stay with her family.  As a child, she and her brothers would imitate the songs and dances of James Brown, who shared their hometown.  Like many rhythm and blues entertainers, she began performing in church at a very young age where her voice would find a lifelong home and inspiration.  As a teenager in the early nineteen seventies, she began singing outside of the church in talent shows and with local funk groups.  Later she would make her living with a combination of sporadic session work as a mostly anonymous voice on various dance records (sometimes credited as Lafaye Jones), singing with wedding bands, and a handful of day jobs which included stints as both a prison guard at New York’s notorious Riker’s Island, and an armored car guard for Wells Fargo Bank.  In 1996 she was called in to sing back-up at a Desco Records studio session for 70’s soul legend Lee Fields.

Desco was a small independent specializing in traditional funk and soul pressed exclusively to wax.  Co-owners and producers Phillip Lehman and Bosco ‘Bass’ Mann had called Jones in on a tip from a sax player who was seeing her at the time.  As the other two girls never showed up for the session, Jones cut all the background parts for the session herself, and proceeded to cut the impromptu prison rap over Switchblade, which had originally been intended for a man.  Ironically, that rant (slowed down to make it sound like a man) would be her first outing as a featured artist on a record.  Though she was at first skeptical of the 21 year-old jewish kid egging her on from the other side of the glass, a common love and respect for Soul music soon created a trust and friendship between Jones and Mann which would lead them both to a fruitful career.

Over the next four years, Jones sang frequently alongside Lee Fields, Joseph Henry, and Naomi Davis as part of the Desco Super Soul Revue backed by Desco house band the Soul Providers.  Desco would release a handful of singles in her name including The Bump & Touch, Damn It’s Hot, and You Better Think Twice as well as versions of funk classics I Got the Feelin’ and Hook & Sling.  In the UK, a blossoming Deep Funk scene lead by DJ’s Keb Darge and Snowboy among others showed support for these Desco releases and paved the way for Jones and the Soul Providers’ first international tour in 1999, where her command of the stage earned her an overnight title as the ‘Queen of Funk’.

Unfortunately, just as the Jones and the band began to gain momentum and a reputation for a show that couldn’t be missed, internal business conflicts caused the demise of Desco Records in the early part of 2000.  Though the Soul Providers would not perform again, it wasn’t long before Jones and Mann would regroup in another formation.

Guitarist Binky Griptite, would remain at Mann’s side as well as organist Earl Maxton, percussionist Fernando ‘Boogaloo’ Velez, trumpeter Anda ‘Goodfoot’ Szilagyi and Baritone saxophonist Jack Zapata (AKA Martín Perna, who would go on to form Brooklyn afrobeat collective Antibalas) all from the original Soul Providers.  From the Mighty Imperials, a young instrumental organ funk group that recorded at Desco, Tenor saxophonist  Leon Michels (who would later leave the group to form the El Michels Affair as well as his own label, Truth & Soul) and drummer Homer ‘Funkyfoot’ Steinweiss would fill out the line-up.  Both were only 17 years-old at the time.  Now for the first time, the group would be billed as Sharon Jones & the Dap-Kings.

In 2001, the group landed a summer residency at a club in Barcelona.  Knowing that the trip would be a financial disaster without having a recording to sell, Mann penned a few new tunes and assembled the band to record. A rough eight track recording studio was rigged up in the basement beneath the Afro-Spot, a local kung-fu dojo which doubled as an afrobeat nightclub and headquarters for Antibalas’ frontman Duke Amayo.  After a few weeks of tracking and mixing, the band’s debut album was completed.  Dap Dippin’ with Sharon Jones & the Dap-Kings would be Jones’s first full length recording.  Though few hundred copies were pressed to sell on the road, it would take several months and the birth of a new record label before Dap-Dippin’ would be commercially released.

In late 2001, saxophonist Neal Sugarman, whose organ driven Sugarman Three combo had given Desco two of its most prominent releases,  and Gabriel Roth, Desco’s head recording engineer, joined together to form Daptone Records.  With the intention of continuing on where Desco had left off, Daptone’s debut release would be the Dap-Dippin’ album.

Over the next three years, Sharon Jones & the Dap-Kings would tour extensively and build steadily upon a growing reputation as the unrivaled frontrunners of old-school Soul and Funk music.  The band went through several changes in personnel before settling into what would be its permanent line-up.  Sugarman joined the band to replace Michels on tenor saxophone.  Michels would move to baritone where he would stay until 2005, when he eventually left to give Truth & Soul Records his full attention.  He would be replaced on baritone by Ian Hendrickson-Smith, a well known and respected jazz saxophonist in his own right.  The trumpet chair passed from Szilagyi to Todd Simon, and was eventually filled by David Guy.  Maxton left the band in 2003 to play with Antibalas, leaving the band with no organ, and guitarist Tommy ‘TNT’ Brenneck, of the Budos Band, would take up the slack in the rhythm section.

By the time they returned to the studio in 2004, the Dap-Kings roster read like a veritable who’s who of the day’s Soul and Funk scene, most of whom were bandleaders in their own right.  Countless gigs had molded the rhythm section into a redoubtable juggernaut on the bandstand, and the combination of Sugarman, Guy, and Hendrickson-Smith in the horn section was fierce.  Behind the ever-increasing power and stage presence of Jones, the band was becoming a force to be reckoned with.

In 2003, Daptone Records had relocated to a dilapidated two family house in Bushwick, Brooklyn.  Upstairs became the offices, and with some amount of work, the first floor had been converted to a recording studio.  By the time the Dap-Kings came to record their second record in March of 2004, the studio had been outfitted with a sixteen track tape machine.  (Originally, the plan was to record the second and third albums back to back.  Unfortunately, on the last day of tracking the second record, a car accident on the way home from the studio landed Mann in the hospital with serious eye injuries.  From then on he would have to wear protective sunglasses.  It was over a month and a half before work could be resumed on the album and it was decided to scrap the third album for the time being.)

In January of 2005, Naturally hit the streets and set Jones and the Dap-Kings loose on a relentless touring schedule. Fueled by rave reviews of both their new record and the blistering live show, record sales and concert attendance began rising across the country, and as the band began to tour more frequently overseas, international markets soon followed suit. By 2006, audiences in Europe, Canada, and Australia were packing venues to see Sharon Jones & the Dap-Kings.

A high point came when Daptone Records presented a Soul Revue at New York’s Irving Plaza (Fillmore East) to honor Jones’ 50th birthday.  The sold out extravaganza featured The Mighty Imperials, The Budos Band, Charles Bradley, Binky Griptite, Naomi Davis & the Gospel Queens, the Bushwick Philharmonic, Antibalas, and was of course headlined by the Dap-Kings and Sharon Jones herself. 

In the winter of 2006, the band slowed its touring schedule to make time for a return to the studio.  The resulting 100 Days, 100 Nights, slated for a much anticipated release in September of this year, is arguably their greatest achievement to date.  With much more extensive songwriting and arranging contributions from the members of the band, the songs take more distinct and well-crafted forms, enabling a deeper more soulful return to traditional Rhythm and Blues roots.  However, it is the raw fire and Soul which Sharon Jones & the Dap-Kings consistently pour into their music that will make this record an irreplaceable part of many people’s lives.

Resenha Nacional sobre Sharon Jones na Folha

 

  2002 Album

Ficha Técnica:

Bass - Bosco Mann
Congas - Boogaloo Velez
Drums - Homer Steinweiss
Guitar - Binky Griptite
Organ - Earl Maxton
Producer - Bosco Mann
Recorded By - Gabriel Roth
Saxophone [Baritone] - Jack Zapata
Saxophone [Tenor] - Otis Youngblood
Trumpet - Anda "Goodfoot" Szilagyi*
Vocals - Sharon Jones
Voice - Binky Griptite

Set List:

1   (Introduction)
2   Got A Thing On My Mind
3   What Have You Done For Me Lately?
4   The Dap Dip
5   Give Me A Chance
6   Got To Be The Way It Is
7   Make It Good To Me
8   Ain't It Hard
9   Pick It Up, Lay It In The Cut
10  Casella Walk
11  Hidden Bonus Track

 

Link Original

2005 Album

Ficha Técnica:

Artwork By [Art Direction] - David Serre
Bass, Piano, Vibraphone [Vibes], Tambourine - Bosco Mann
Cello - Alex Kadvan
Congas - Boogaloo Velez
Drums - Homer Steinweiss
Engineer [Assistant, Mixdown] - Tomas Biosh*
Executive Producer - Sugarman & Roth
Guitar, Backing Vocals [Back-up Vocals], Voice [Emcee] - Binky Griptite
Guitar, Piano - Tommy TNT Brenneck*
Mastered By - Don Grossinger
Other [Catering By] - Daniela Sugarman
Photography - Dulce Pinzon
Producer - Bosco Mann
Recorded By, Mixed By - Gabriel Roth
Saxophone [Baritone] - El Michels*
Saxophone [Tenor] - Neal Sugarman
Trumpet - Dave Guy
Violin - Antoine Silverman , Entcho Todorov
Vocals - Sharon Jones
Written-By, Arranged By - Bosco Mann (tracks: 1 to 6, 8 to 10) 
Notes: Recorded and Mixed at Daptone Studios, Bushwick, Brooklyn
Mastered at Masterdisk

Strings courtesy of the Bushwick Philharmonic

Tracks 1 to 6 & 8 to 10 published by Boscosound Music (BMI)
Track 7 published by Ludlow Music (BMI)

Set List:

1   How Do I Let A Good Man Down? (3:02)
2   Natural Born Lover (3:04)
3   Stranded In Your Love (5:47) Vocals [Featuring] - Lee Fields 
4   My Man Is A Mean Man (3:16)
5   You're Gonna Get It (4:59)
6   How Long Do I Have To Wait For You? (4:03)
7   This Land Is Your Land (4:31) Written-By - Woody Guthrie 
8   Your Thing Is A Drag (3:33)
9   Fish In The Dish (3:18) Jew's Harp [Jaw Harp] - Stuart Bogie 
10   All Over Again (4:43) Organ - Earl Maxton

 

Link Original

2007 Album

Ficha Técnica:

Arranged By - Sharon Jones & The Dap-Kings (tracks: 1-01 to 1-10)
Artwork By [Sleeve Design] - Ann Coombs , David Serre
Backing Vocals [Backup Vocals] - Dansettes, The (tracks: 1-02, 1-05, 1-10) , Gospel Queens, The (tracks: 1-03) , Voices Of Thunder, The (tracks: 1-01)
Bass - Bosco Mann (tracks: 1-01 to 1-10)
Cello, Leader [Band Manager] - Alexander Kadvan* (tracks: 1-01 to 1-10)
Clavinet - Earl Maxton (tracks: 1-03)
Congas, Bongos - Fernando 'Boogaloo' Velez* (tracks: 1-01 to 1-10)
Drums - Homer Steinweiss (tracks: 1-01 to 1-10)
Executive Producer - Sugarman & Roth
Guitar - Binky Griptite (tracks: 1-01 to 1-10) , Tommy TNT Brenneck* (tracks: 1-01 to 1-10)
Mastered By - Scott Hull (2) (tracks: 1-01 to 1-10)
Organ - Earl Maxton (tracks: 1-01)
Photography [Cover Photo] - Dulce Pinzón
Piano - Bosco Mann (tracks: 1-01 to 1-10) , Cliff Driver (tracks: 1-01) , Earl Maxton (tracks: 1-08)
Producer - Bosco Mann (tracks: 1-01 to 1-10)
Recorded By - Gabriel Roth (tracks: 1-01 to 1-10)
Saxophone [Baritone] - Ian Hendrickson-Smith (tracks: 1-01 to 1-10)
Saxophone [Tenor] - Neal Sugarman (tracks: 1-01 to 1-10)
Strings - Bushwick Philharmonic, The (tracks: 1-01 to 1-10)
Trombone - Aaron Johnson (tracks: 1-01 to 1-10)
Trumpet - Dave Guy (tracks: 1-01 to 1-10)
Vibraphone - Toby Pazner* (tracks: 1-01 to 1-10)
Viola - Christopher Cardona* (tracks: 1-01 to 1-10)
Violin - Antoine Silverman (tracks: 1-01 to 1-10) , Entcho Todorov (tracks: 1-01 to 1-10)
Vocals - Sharon Jones (tracks: 1-01 to 1-10)
Voice [Presenter] - Binky Griptite (tracks: 2-01a to 2-06d) 
Notes: 100 Days & 100 Nights
Recorded at Daptone Records, House Of Soul.

Tracks 1-01 & 1-04 to 1-08 Boscosound Music, BMI.
Tracks 1-02, 1-03, 1-09 & 1-10 BMI.

Set List:

1   100 Days, 100 Nights (3:45)
2   Nobody's Baby (2:27)
3   Tell Me (2:46)
4   Be Easy (3:03)
5   When The Other Foot Drops, Uncle (3:15)
6   Let Them Knock (4:29)
7   Something's Changed (2:56)
8   Humble Me (4:05)
9   Keep On Looking (2:49)
10  Answer Me (4:08)

 

Link Original

He’s so Fine 1958 – Lonely Teardrops 1959 – Jackie Wilson

 

Jack Leroy "Jackie" Wilson, Jr. (June 9, 1934 – January 21, 1984) was an American singer. Wilson was important in the transition of rhythm and blues into soul. Gaining fame in his early years as a member of the R&B vocal group, The Dominoes, after going solo in 1957, he went on to record over fifty hit singles over a repertoire that included R&B, pop, soul, doo-wop and easy listening before lapsing into a coma following a collapse on stage during a 1975 benefit concert. By the time of his death in 1984, he had become one of the most influential soul artists of his generation.

 

Pra não ficar muito extenso o texto, pois sua biografia é enorme, ficamos por aí mesmo. Seus dois primeiros albuns encartado em um  cd, onde estão também seus sucessos nos bailes.

   Set List:

   01. Etcetera   
   02. To Be Loved
   03. Come Back To Me
   04. If I Can't Have You
   05. As Long As I Live
   06. Reet Petite
   07. It's Too Bad We Had to Say Goodbye
   08. Why Can't You be Mine
   09. I'm Wanderin
   10. Right Now 
   11. Danny Boy
   12. It's So Fine
   13. Lonely Teardrops
   14. Each Time (I Love You More)
   15. That's Why (Ilove You So)
   16. In The Blue of The Evening
   17. The Joke (Is Not On Me)
   18. Someone To Need Me (As I Need You)
   19. You Better Know It
   20. By The Light Of Silvery Moon
   21. Singing A Song
   22. Love Is All
   23. We Have Love
   24. Hush-A-Bye

   Link do Arquivo

Ain’t Got No Home – The Best of Clarence ‘Frogman’ Henry 1994

Clarence "Frogman" Henry (born March 19, 1937, Algiers, New Orleans, Louisiana) is an American rhythm and blues singer.

He could sing like a girl, and he could sing like a frog. That latter trademark croak, utilized to the max on his 1956 debut smash "Ain't Got No Home," earned good-natured Clarence Henry his nickname and jump-started a rewarding career that endures to this day around the Crescent City.

Naturally, Fats Domino and Professor Longhair were young Clarence Henry's main influences while growing up in the Big Easy. He played piano and trombone with Bobby Mitchell & the Toppers from 1952 to 1955 before catching on with saxist Eddie Smith's band. Henry improvised the basic idea behind "Ain't Got No Home" on the bandstand one morning in the wee hours; when the crowd responded favorably, he honed it into something unique. Paul Gayten (New Orleans A&R man for Chess Records) concurred, hustling Henry into Cosimo Matassa's studio in September of 1956. Local DJ Poppa Stoppa laid the "Frogman" handle on the youngster when he spun the 45 (issued on the Chess subsidiary Argo), and it stuck.

Despite some fine follow-ups -- "It Won't Be Long," "I'm in Love," the inevitable sequel "I Found a Home" -- Frog sank back into the marsh sales-wise until 1960, when Allen Toussaint's updated arrangement melded beautifully with a country-tinged Bobby Charles composition called "(I Don't Know Why) But I Do." Henry's rendition of the tune proved a huge pop smash in early 1961, as did a Domino-tinged "You Always Hurt the One You Love" later that year.

Frogman continued to record a variety of New Orleans-styled old standards and catchy originals for Argo (Chess assembled a Henry album that boasted what may be the worst cover art in the history of rock & roll), even recording at one point with Nashville saxist Boots Randolph and pianist Floyd Cramer. But the hits dried up for good after 1961. Henry opened 18 concerts for the Beatles across the U.S. and Canada in 1964, but his main source of income came from the Bourbon Street strip, where he played for 19 years. You'll likely find him joyously reviving his classics at the New Orleans Jazz & Heritage Festival every year come spring -- and his croak remains as deep and melodious as ever.

Fonte: Bill Dahl (All Music Guide)

   Set List:

   01 Ain't Got No Home.mp3          
   02 Troubles, Troubles.mp3         
   03 Lonely Tramp.mp3               
   04 It Won't Be Long.mp3           
   05 Baby Baby Please.mp3           
   06 I'm in Love.mp3                
   07 (I Don't Know Why) But I Do.mp3
   08 Just My Baby and Me.mp3        
   09 Your Picture.mp3               
   10 You Always Hurt the One You Love
   11 Lonely Street.mp3              
   12 I Love You, Yes I Do.mp3       
   13 Standing in the Need of Love.mp3
   14 On Bended Knees.mp3            
   15 A Little Too Much.mp3          
   16 Lost Without You.mp3           
   17 Long Lost and Worried.mp3      
   18 Looking Back.mp3  

   Link do Arquivo

Love Man – Otis Redding 1969

After the success of the previous two posthumous releases, "Dock of the Bay" and "The Immortal Otis Redding,
" Steve Cropper put out another collection of unreleased studio material.
This enjoyable disc features a dozen tracks culled from the vast amount of recordings Otis
made prior to his untimely death in December of 1967.
These songs were all from sessions done in his last year,
with the usual accompaniment of Booker T. & the MG's and the Mar-Keys.
For a compilation of leftovers, there are a number of gems to be found.
"I'm A Changed Man," "That's A Good Idea," "Groovin' Time" and the title track are classic Redding,
and the fantastic "Direct Me" features some great guitar work by Cropper.
Only three covers are included: a spirited version of "(Your Love Has Lifted Me) Higher and Higher record and Sucess by Jackie Wilson, " Brook Benton's "A Lover's Question," and the rollicking "Look At That Girl" with some nice female backing vocals.
It may not be essential, but this album did produce a couple of Top 20 R&B hits
("Love Man" and "A Lover's Question") and it captures Otis during his most productive period.
Once you have his key records, pick this one up. It's definitely worth a listen.

   Set List:

   01.I'm a Changed Man          
   02.(Your Love Has Lifted Me) High and Higher
   03.That's a Good Idea         
   04.I'll Let Nothing Separate Us
   05.Direct Me                  
   06.Love Man                   
   07.Groovin' Time              
   08.Your Feeling is Mine       
   09.Got to Get Myself Together 
   10.Free Me                    
   11.A Lover's Question         
   12.Look at That Girl

   Link do Arquivo

Série Dois Momentos Vol. 6 – Branca Di Neve

Vitimado por um derrame cerebral aos 38 anos de idade, em 1989, o sambista paulistano Nelson Fernandes Morais,
o Branca di Neve, tinha acabado de gravar o segundo disco solo,  incluído neste CD que resume sua trajetória nos títulos Branca Mete Bronca! Vols. 1 e 2.
Antes disso, ele tinha passado pelos Originais do Samba, roncou surdo com o Luis Wagner guitarreiro celebrado por Jorge Ben Jor, seu ídolo e modelo, com quem também tocou, além de Nara Leão, Baden Powell e Toquinho.
Os dois discos refletem a influência do samba rock ou suíngue do Babulina que se transformaria na célula básica
(depois deturpada) do pagode paulista. Com sua voz quebrada que em alguns momentos lembra Luís Melodia,
agulhada pelos sopros gingantes do estilo, Branca canta outros expoentes do setor como Bedeu (Kid Brilhantina),
Luis Wagner (Oi), Marku (Canaviá), Zelão (Boca Louca), além das próprias composições, uma delas, A Cor de Deus,
que ele chegou a mandar numa apresentação para o bispo africano Desmond Tutu numa visita à Bahia.
Com uma taxa de originalidade maior que a do diluidor Bebeto, Branca desenvolve uma ramificação da matriz benjoriana, incluída nos discos em duas contribuições menores, Falsa Magra e Quer Moleza. Para completar,
Salgueiro é Raiz cita o verso inicial de Lá Vem Salgueiro e a adaptação para suíngue de Fico Louco de Itamar Assumpção
evoca de início Bebete Vambora, ambas do mestre-escola. A morte precoce de Branca cortou as asas desse ramal promissor do samba rock.

Fonte: Clique Music (Tárik de Souza )

   Set List:

   01 Boca Louca                 
   02 Canaviá                   
   03 Falsa Magra                
   04 Reprise                    
   05 Nêgo Dito                  
   06 A Cor De Deus              
   07 Pensamento Verde           
   08 Kid Brilhantina           
   09 Salgueiro É Uma Raiz       
   10 Saudades da Minha Preta    
   11 Maria Inês                 
   12 Oi                         
   13 Diz                        
   14 Fico Louco                 
   15 Salve a Raça Negra         
   16 Quer Moleza                
   17 Garra Corintiana           
   18 Ciumeira    

   Link do Arquivo

As capas e encartes originais dos dois albuns se encontram anexadas no arquivo.

30 Greatest Hits – Aretha Franklin 1985

Aretha Louise Franklin (Memphis, 25 de março de 1942) é uma cantora norte-americana de gospel, soul e R&B que virou ícone da música negra.

Nascida em Memphis,criada em Detroit, Michigan, tornou-se a primeira mulher a fazer parte do Hall da Fama do Rock and Roll em 3 de janeiro de 1987. Muitos chamam Aretha de "Rainha do Soul" ou "Dama do Soul". Ela é reconhecida por suas habilidades na música soul e R&B, mas também é uma adepta de jazz, rock, blues, pop e até mesmo ópera. Ela é geralmente reconhecida como uma das melhores vocalistas da história da música por publicações de porte da Revista Rolling Stone e do canal de televisão VH1. Ela é a segunda cantora a possuir mais prêmios Grammy na história, atrás apenas de Allison Krauss. Aretha possui dezessete prêmios competitivos e três honorários. O estado de Michigan declarou a voz de Aretha como sendo uma maravilha natural.

Apesar de todo o sucesso, Aretha possui apenas dois singles que foram para o primeiro lugar na lista dos mais vendidos dos Estados Unidos segundo a Revista Billboard: "Respect" nos anos 1960 (sua canção mais conhecida) e "I Knew You Were Waiting (For Me)", um dueto com George Michael. No entanto, vários singles dela já apareceram entre os 20 mais vendidos na lista daquela publicação, como "Think", "I Say a Little Prayer", "Until You Come Back to Me", "Who's Zoomin' Who?", "Freeway of Love", entre outros.

 

Track List CD 1

1. I Never Loved a Man (The Way I Love You)  
2. Respect  
3. Do Right Woman, Do Right Man  
4. Dr Feelgood
5. Save Me  
6. Baby I Love You  
7. Natural Woman, A (You Make Me Feel Like)
8. Chain of Fools  
9. Since You've Been Gone  
10. Ain't No Way  
11. Think
12. I Say a Little Prayer  
13. House That Jack Built, The  
14. See Saw  
15. Weight, The
16. Share Your Love With Me  
17. Eleanor Rigby

Track List CD 2

1. Call Me  
2. Spirit in the Dark  
3. Don't Play That Song  
4. You're All I Need to Get By  
5. Bridge Over Troubled Water
6. Spanish Harlem  
7. Rock Steady
8. Oh Me Oh My (I'm a Fool For You Baby)
9. Day Dreaming
10. Wholly Holy  
11. Angel
12. Until You Come Back to Me
13. I'm in Love

Link Original

Silver Throat – Bill Cosby Sings 1967

William Henry Cosby Jr., Ed.D. (born July 12, 1937) is an American comedian, actor, author, television producer and activist. A veteran stand-up performer, he got his start at various clubs, then landed a vanguard role in the 1960s action show I Spy. He later starred in his own series, The Bill Cosby Show, in 1969. He was one of the major characters on the children's television show The Electric Company for its first two seasons, and created the humorous educational cartoon series Fat Albert and the Cosby Kids, about a group of young friends growing up in the city. Cosby also acted in numerous films.

Silver Throat: Bill Cosby Sings (1967) is the fifth album by Bill Cosby.
It was his first album that was recorded in the studio, as well as his first album that showcased his singing, backed by the Watts 103rd Street Rhythm Band. The album consisted mostly of straightforward rhythm and blues performances, including several Jimmy Reed songs, a cover version of Ray Charles' "I Got a Woman" with slightly comedic lyrics, "Mojo Workout", which was a sequel to the Muddy Waters classic "I Got My Mojo Workin'", and "Little Ole Man" which combined a comedic monologue with Stevie Wonder's "Uptight, Everything's Alright". Also included is an original song credited to Cosby, "Don'cha Know".
"Little Ole Man" became a major hit upon release as a single, attaining gold record status for selling one million copies in the United States and reaching #4 on the U.S. Hot 100 chart. It was Cosby's only hit song.

Track List:

Side one

1. Bright Lights, Big City (Reed) – 2:41
2. Big Boss Man (Dixon, Smith) – 2:45
3. Hush Hush (Reed) – 1:54
4. Baby, What You Want Me to Do (Reed) – 2:43
5. Tell Me You Love Me (Reed, Smith) – 3:07
6. Aw Shucks, Hush Your Mouth (Reed) – 1:36

Side two

1. Little Ole Man (Uptight, Everything's Alright) (Cosby, May, Wonder) – 4:10
2. Mojo Workout (Bright) – 2:53
3. I Got a Woman (Charles) – 3:22
4. Don'cha Know (Cosby) – 2:45
5. Place in the Sun (Miller, Wells) – 2:35

Link do Arquivo

Samba Rock by Ferpa 2009

Sons mais antigos, mais novos, nostalgia moderna nesta coletânea, que apresento a vocês. Posso dizer também que será ponto de partida, para os próximos posts, uma vez que os albuns referentes a esta coletânea já se encontram upados no servidor, alguns até já foram para o ar, só estou no aguarde de informações complementares para que possa postar os demais. No mais, só posso dizer: dois prá cá, dois prá lá pessoal!!!!!!!!!!!!!!!!!!

Set List:

   01 You Never Can Tell - Chuck Berry
   02 Come Back To Me - Jackie Wilson
   03 (Your Love Has Lifted Me) Higher and Higher
   04 I'm in Love - Clarence Henry
   05 Honey Chile - Fats Domino  
   06 Carrot Top - The Brass Ring
   07 Mojo Workout - Bill Cosby  
   08 Floy Joy Remix - Loo, Gringo & Miriti             
   09 Horacio Vegas - Loo, Gringo & Miriti              
   10 Vaya Con Dios - Loo, Gringo & Miriti              
   11 Whipped Cream - Herb Alpert
   12 Samba De Uma Nota Só - Stan Getz & Charlie Byrd
   13 Bossa Nova Blues - Milton Banana
   14 Dirty Bossa Bass Mix - Dj Tadeu       
   15 The Organ Grinder's Swing - Jimmy Smith
   16 Stereo Action Unlimited - Loo, Gringo & Miriti    
   17 Bossa 1 - Dj Tadeu                    
   18 Guaposan - Loo, Gringo & Miriti                   
   19 One Step Above - Claus Ogerman & Watusi Trumpets
   20 Witch Hazel - Loo, Gringo & Miriti                

   Link do Arquivo

Mussum

Antônio Carlos Bernardes Gomes, mais conhecido como Mussum(Rio de Janeiro, 7 de abril de 1941 - São Paulo, 29 de julho de 1994), foi um músico e humorista brasileiro. Como músico foi membro do grupo de samba Os Originais do Samba e como humorista, do grupo Os Trapalhões.

Carreira

Mussum teve origem humilde, nasceu no Morro da Cachoeirinha, Zona Norte do Rio de Janeiro.
Estudou durante nove anos num colégio interno, onde obteve o diploma de ajustador mecânico.  Pertenceu à Força Aérea Brasileira durante oito anos, ao mesmo tempo em que aproveitava para participar na Caravana Cultural de Música Brasileira de Carlos Machado.
Foi músico e sambista, com amigos fundou o grupo Os Sete Modernos, posteriormente chamado Os Originais do Samba.
O grupo teve vários sucessos, as coreografias e roupas coloridas os fizeram muito populares na TV, nos anos 70,
e se apresentaram em diversos países.                         Nos anos 60, é convidado a participar de um show de televisão, como humorista. De início recusa o convite,
justificando-se com a afirmação de que pintar a cara, como é costume dos atores, não era coisa de homem.    Finalmente estréia no programa humorístico Bairro Feliz (TV Globo, 1965).Consta que foi nos bastidores deste show que Grande Otelo lhe deu o apelido de Mussum, que origina-se de um peixe.

Em 1969, o diretor de Os Trapalhões, Wilton Franco, o vê numa apresentação de boate com seu conjunto musical
e o convida para integrar o grupo humorístico, na época na TV Excelsior.
Mais uma vez, recusa; entretanto, o amigo Manfried Santanna (Dedé Santana) consegue convencê-lo,
e Mussum passa a integrar o quarteto (que na época ainda era um trio, pois Zacarias entrou no grupo depois)
que terminaria tornando-o muito famoso em todo o país. Mussum era o único dos quatro Trapalhões oficiais
que era da etnia afro-brasileira (Jorge Lafond e Tião Macalé,
apesar de também afrobrasileiros e atuarem em vários quadros com o grupo, eram coadjuvantes).

Apenas quando Os Trapalhões já estavam na TV Globo, e o sucesso o impedia de cumprir seus compromissos,
é que Mussum deixou os Originais do Samba. Mas não se afastou da indústria musical,
tendo gravado discos com Os Trapalhões e alguns discos solos, dedicados ao samba.

Uma de suas paixões era a escola de samba Estação Primeira de Mangueira, todos os anos sua figura pontificava
durante os desfiles da escola, no meio da Ala de baianas, da qual era diretor de harmonia.
Dessa paixão veio o apelido "Mumu da Mangueira".
Segundo depoimento recente de Dedé Santana, Mussum era o único dos Trapalhões que, na frente das telas,
não representava um personagem. O tempo todo, Mussum era ele mesmo: alegre, brincalhão, risonho, querido por todos.
Também afirmou que Mussum era o único trapalhão que não precisava fazer o menor esforço para ser engraçado.

Set List:

   01 Chiclete de Hortelã
   02 Água Benta com Alcione
   03 Alô, Judite       
   04 Artigo Esgotado   
   05 Cada Vida um Destino
   06 É Ouro Só         
   07 Foi Melhor Assim  
   08 Malandro Quilomba 
   09 Nego Juca         
   10 Rio Antigo com Chico Anysio
   11 Tem Que Ser Hoje  
   12 Vai se Arrepender

   Link do Arquivo

Set List:

   01 Descobrimento do Brasil
   02 A Vizinha (Pega ela Peru)
   03 Um Amor em Cada Coração
   04 O Saudoso         
   05 Criança Louca     
   06 Teatro Brasileiro 
   07 Nega Besta        
   08 Terra de Jó       
   09 Tempo Bom, Faz Tempo
   10 Papagaio          
   11 Eu sou Assim

   Link do Arquivo

Set List:

   01 Because Forever            
   02 Filosofia de Quintal       
   03 Ei Moleque                 
   04 Debaixo do Meu Chapéu      
   05 O Torcedor                 
   06 Verdade Expressa           
   07 Madureira, Vaz Lobo e Irajá
   08 Tola Insensatez            
   09 Grande Gerê                
   10 Amor Sem Segredo           
   11 Sem Você Tudo Bem          
   12 Festa do Lava Pés

   Link do Arquivo