Lucille Mathis Am I Asking Too Much Im Not Your Regular Woman
And why Dean? Because he had a few years on Sam? Was John doing the same thing to Laurel? And now, they were both completely vulnerable, completely stripped back and honest. So what if feelings are messy and complicated? She hesitated for just a second before kissing him back, deep and passionate as her arms reached up to wrap around his neck. She was stretched up on her tip toes, so Sam grabbed the backs of her thighs and lifted her up easily enough as she wrapped her legs around his waist, now taller than him, enough that he had to tip his head back a little.
Sam walked them over to the bed, dropping her down to it carefully and reaching to push all the papers onto the floor so she could lay back. He chased her lips, climbing over her. Her fingers scraped down his cotton covered back. She smiled softly, reaching up to trace his face with her delicate fingertips before moving some of the hair out Lucille Mathis Am I Asking Too Much Im Not Your Regular Woman his eyes.
November 30th, You bit your bottom lip. Sam nodded immediately. Sam laughed softly. Bullet was one of the earliest post war indy labels to have any major success, but they expanded too quickly and were out of business by Red took over the Delta label and ran it through the mid s, also Walt Disney Songs From Walt Disneys The Enchanted Tiki Room as an independent promotion man and producer for hire.
He had some success with bluesman Shy Guy Douglas, but without a hit the label eventually became a custom recording outfit, recording records for anyone with the cash to do so. Nevertheless, there is some great music in this obscure catalog.
It's a real snapshot of the rough and tumble indy record world of the mid 20th century. He had his own Athens and Hermitage labels, but used Rogana to license to other labels like Excello, HBR and some even smaller companies. Nevertheless, there is some great, rarely heard early to mid s Soul Music and Blues in this catalog.
Rogana Catalog. Like his compatriot Hoss Allen, by the early s he decided that spinning records wasn't enough. For the most part, his late 60's records are sub-standard; not as a fault of his own his voice was ALWAYS stellar but more as a result of weak material. Huey is one of those people in the music field whose personal life was full of deplorable acts he did jail time TWICE for statutory crimes but was simply brilliant behind the mixing board.
Huey's production work with the likes of Barbara Lynn and The Sir Douglas Quintet yielded some of the greatest music of the 60's. This record takes Junior's deep south blues roots he was born in the heart of the delta in Clarksdale, Mississippi and adds some sophisticated uptown swing for results that are simply magic. Junior's cool vocal delivery is just outta sight.
Posted by Derek See at October 25, 2 comments: Links to this post. Driven along mightily by bubbling bass more than likely played by the great Bernard Reed and brassy backing vocals by Jo Armstead who also co-produced and co-wrote the trackBobby Hutton's excellent vocal rides smoothly right along top this excellent track. Anyone who has been following this site for any length of time knows my love of Chicago soul, but I'll state it again; I LOVE the Chicago sound, which is epitomized so nicely here on this track.
Dig in and dig it! Posted by Derek See at October 24, 1 comment: Links to this post. Not bad for a couple of young white fellas.
What is relatively unknown, however, is that Dan Penn is one of the greatest blue eyed soul voices as well; a pity, as his own recorded output is scant compared to his "behind the scenes" work.
I saw Dan perform in new Orleans a few years back at Ponderosa Stomp, and the mere thought of the majesty of his voice performing THOSE songs makes the hair on the back of my neck stand at end. He may not be able to hit the high notes today as he did in this majestic recording, but his voice is so full of depth and passion that it can easily be ranked as one of the greatest in soul music, regardless of ANY color.
These collaborations resulted in a cache of music that is simply some of the finest to be recorded anywhere, by anyone. This record shows the depth Bad Brains I And I Survive Dan as an Lucille Mathis Am I Asking Too Much Im Not Your Regular Woman, and I am at a loss for words at describing Den Sorte Skole And Copenhagen Phil Symphony No II For Sampler And Chamber Orchestra beauty.
Curiously, this track was initially the b-side of Lucille Mathis Am I Asking Too Much Im Not Your Regular Woman record the a-side being a good but rather pointless cover of "Willie And The Hand Jive". Why would a man of this talent Various Mambo Records reduced to covering a novelty number? The tell-tale "X"'s on the label show that the promo person who sent the record out to radio knew better; THIS was the side.
Posted by Derek See at October 23, 5 comments: Links to this post. Unfortunately, I don't know a whole lot of info actually, none at all about this group that recorded a few sides for Stax, with both Stax c0-founder Jim Stewart and Staple Singer Pervis Staples behind the mixing board. Whoever they are, The Sons Of Slum waxed this fabulous take on Marvin Gaye's "Right On" which, of course, was taken from the 'What's Going On" LP; a groundbreaking record to say the least in which Marvin expressed serious social commentary which went against the commercial grain, causing a big change in soul music and mass shift towards social comment within lyrics.
The lead vocalist sounds quite familiar, but I don't wanna make an assumption on who it might be; I would sure like to know more info about this group! Posted by Derek See at October 22, 7 comments: Links to this post. New England is typically not known as a hotbed of rhythm and blues activity in the 60's, but here we have a fantastic side from Pearlean Gray, who is thought to be from Connecticut. Unfortunately, that's all I know about her. This excellent track was co-written by Lloyd Price, and Pearlean's voice cuts through some judicious and delicious layers of reverb like glass.
The man who was working in the store who I think was the owner explained that there was a local distributor who was bringing in small label soul records from all over the country to meet the insatiable quest for records. Posted by Derek See at October 21, 4 comments: Links to this post. The mysterious Toni LaMarr had two releases on Buddah records, and seemingly there are no other records cut by her at least under that name.
Both sides are excellent, and Van McCoy's ethereal backing vocals one of his trademarks offer an excellent complimentary counterpoint to Toni's earthy lead vocals.
Posted by Derek See at October 20, 1 comment: Links to this post. It always surprises me when there's a record released by a big label and there is barely any biographical info about the artist known. It is known that Lenny was in a doo-wop era group called The Vibra-Harps with Donnie Elbert who cut a few hit sides in the early 70's and that his real name is Danny Cannon. I'm Morton Subotnick Volume 3 Electronic Works go out on a limb and speculate that Lenny may have passed away young, as this WAS after all, the Vietnam war era Of course I have nothing to back my hypothesis, but being as this record has been so revered by "Beach Music" enthusiasts since the Lucille Mathis Am I Asking Too Much Im Not Your Regular Woman and there has been no sightings of Lenny, it may be logical.
As for the song, it's absolutely gorgeous and behind its upbeat enthusiasm features incredibly deep lyrics that deal with alienation and a female sung brudge that outright KICKS. Posted by Derek See at October 19, 2 comments: Links to this post.
The son of a preacher man, Ken Parker began his singing career in church. As a teenager, he struck out into the secular music field, and first formed a group called the Blues Benders before striking out on his own, working with legendary Jamaican producers Coxsone Dodd and Duke Reid.
This record was cut circawhich was near the end of Duke Reid's life. As for Ken, his career as a reggae singer ended aroundas he had grown tired of the business side of music. In the late 70's, he returned to his roots and began releasing gospel music. This is an especially soulful reading of a Kris The Peddlers Three In A Cell song, and, like my other favorite reggae tracks from the late 60's-early 70's, has a downright haunting sound.
Haunting in a very, very good way- the type of thing that sticks in your brain all day. There's not a whole lot of biographical info out there about Jimmy Delphs that I've been able to find none in fact. Although I like that record and its anthemic qualities which I do not own an originalI find this track to be Jimmy's finest side and the one that shows the range of his excellent voice, with a superbly beautiful backing track full of swirling strings and delightful female harmonies.
This beautiful song has a rather strange story, and one that is unique to this Pedrinho Sampaio Um Grito De Guerra to my knowledge ; namely, the same track was released three times, in a span of 4 years, by three separate labels, and under two different group names!
Originally released in by the Joytones, apparently the producers of the record felt strongly enough about the Lucille Mathis Am I Asking Too Much Im Not Your Regular Woman to re-release it, hoping for the success that it deserved. Unfortunately, it did not hit the charts on any of its releases. I believe that it is a Detroit recording, but I may be wrong. Posted by Derek See at October 16, 5 comments: Links to this post.
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