The greatest soul singer ever to fall below '60s pop radar, Howard Tate remains a tantalizing cipher remembered only through explosive cover versions of his late '60s singles by a blue-chip array of fans including Janis Joplin, B.B. King, Jimi Hendrix, and Ry Cooder. Tate's original versions were even better: his ecstatic falsetto, sinuous tenor releases, and gruff asides placed him in a category of R&B vocal stylists as lofty as his stratospheric pompadour. But the Macon-born, Philadelphia-raised former doo-wopper eluded broader acclaim despite a string of powerful performances that just dented the charts. As produced by R&B stalwart Jerry Ragovoy, Tate's sessions mixed emotive standouts, including "Ain't Nobody Home," "Stop," "Get It While You Can," and "Look at Granny Run Run," with shrewd soul updates of electric blues classics like "How Blue Can You Get" and King's signature tune, "Everyday I Have the Blues." The singer's vein-popping performances are matched by rock-solid arrangements and production, well served in this overdue anthology. As for Tate, he disappeared into legend in the early '70s, making this mother lode of deathless soul all the more valuable. --Sam Sutherland, Soul Time
trax:
01 Ain't Nobody Home 02 Part-Time Love 03 Glad I Knew Better 04 How Blue Can You Get 05 Stop 06 Get It While You Can 07 Baby, I Love You 08 I Learned It All The Hard Way 09 Sweet Love Child 10 Everyday I Have The Blues 11 How Come My Bulldog Don't Bark 12 Look At Granny Run Run 13 Half A Man 14 Shoot 'Em All Down 15 Give Me Some Courage 16 Night Owl 17 I'm Your Servant
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20 comments:
HOWARD TATE "Get It While You Can"
...served by Gyro1966...
gitit! no pw
http://www48.zippyshare.com/v/34412312/file.html
Thanks Gyro! Class!
I knew nothing about Howard Tate when I purchased "Get It While You Can" from a cut-out bin at Woolworth in 1970. The record was on Verve and the cover was purple and blue. I confess that I bought it only because of the guy's hairdo. I thought there must be some greasy stuff inside there. But when I got it home and heard "Ain't Nobody Home" I realized that I knew this guy after all. I was familiar with some of the songs but didn't really know anything about them. And I was blown away! I particularly liked the way the songs alternated between blues and soul on each side.
Howard Tate has gotten much play on my turntable in the course of 40+ years and I thank you for posting this record because my iPod likes it a whole lot too.
BYRD PARTS 1
http://www41.zippyshare.com/v/88902496/file.html
Some of those involved with Columbia's Byrds box urged the producers to use tracks by the Jet Set, the Beefeaters, the pre-Byrds David Crosby, and the Hillmen; instead, they chose to weigh it down with a lot of later, Skip Battin-era tracks. So Raven Records has done the job instead, gathering together the major pre-Byrds and early Byrds-related tracks in one place: David Crosby's bluesy "Willie Gene" and "Come Back Baby"; the pre-Byrds Jet Set trio's Beatles-esque "The Only Girl I Adore" (complete with "yeah-yeah"'s) from the Early L.A. album; the Hillmen's bluegrass version of Dylan's "When the Ship Comes In"; and the Byrds/Beefeaters' "It Won't Be Wrong" from Elektra. But the producers haven't stopped with obvious stuff like that. They've also included David Hemmings' rendition of Gene Clark's "Backstreet Mirror" from the all-but-forgotten Jim Dickson-produced, Byrds-backed David Hemmings Happens; Jackie DeShannon's previously unissued demo recording of "Splendor in the Grass," backed by the Byrds; the Fred Neil-Gram Parsons "Ya Don't Miss Your Water" off of Neil's 1971 Other Side of This Life album; the International Submarine Band's lost Columbia single; rare single cuts by Dillard & Clark; and tracks by Clarence White, Skip Battin, Gene Parsons, and McGuinn, Clark & Hillman. Hemmings' "Anathea," even with his non-singing out in front, manages to achieve a trippy decadence through the Byrds playing and Dickson's production. Most of the rest gets far afield of the original Byrds, although "Ya Don't Miss Your Water" has a dark, brooding, ominous feel that makes it well worth owning, the Doug Dillard-Gene Clark stuff is always welcome, and the early International Submarine Band songs sound a lot more Beatles-esque (and punkier) than anything on their subsequent Safe at Home album. (BRUCE EDER, ALLMUSIC)
BYRD PARTS 2
http://www41.zippyshare.com/v/22744979/file.html
Like its predecessor Byrd Parts, this is a cup-runneth-over grab bag of "oddities, curios, rarities & essentials by members of the Byrds, alone and together," this one spanning the early 1960s through the mid-1980s. The very nature of such a project means that it's not too great or consistent as an end-to-end listening product, and not nearly as good as the average tracks actually released under the Byrds' banner. But the compilers, and just about everyone buying this, knows that -- they're after some Byrds-related rarities that are, for the most part, really difficult to find (and often unavailable elsewhere on CD), especially in one place. On those grounds, Byrd Parts, Vol. 2 is a roaring success, with no less than 28 tracks gathered from all corners of their discographies. Naturally, it's the earlier 1960s material that holds the most interest, including a track from Hoyt Axton's debut 1962 LP with Roger McGuinn on harmony vocals; David Crosby as part of Les Baxter's Balladeers in the early 1960s on "Baiion"; two tracks by the City Surfers, a circa 1963 studio-only Beach Boys rip-off group with McGuinn involvement; Judy Collins' late-1963 recording of "Turn! Turn! Turn!," on which McGuinn played; and two studio pre-1965 Crosby electric outings (which previously appeared on Sundazed's The Preflyte Sessions). The big coup, however, is the appearance of three genuinely, previously unreleased mid-1960s tracks, including a nice, haunting Crosby solo acoustic pre-'65 demo of his original "Brotherhood of the Blues"; a 1964 solo acoustic demo by Gene Clark of his composition "Why Can't I Have Her Back Again?," which is like other of his early Byrds songs in its overt British Invasion influence, though blander than the ones that surfaced on Preflyte; and a 1967 Clark demo of his "If I Hang Around," which Chip Douglas added bass and harmony vocals to in the mid-1990s. The romp continues, with two otherwise unrecorded Gene Clark songs from the sole album by the Rose Garden, from 1967; the rare Peter Fonda 1967 single "November Nights," written by Gram Parsons; and Clarence White's 1967 single "Tuff and Stringy." As the disc reaches the end of the 1960s at around the halfway mark, the material gets less and less interesting, but does include various rarities by the Flying Burrito Brothers, Delaney and Bonnie, country singer Johnny Darrell, Earl Scruggs, and the Everly Brothers (on which some Byrd(s) or another helped out). Wrapping things up are rarities from the late 1970s and 1980s involving McGuinn, Clark, and Chris Hillman as featured artists, though with the exception of McGuinn's 1977 film theme, "Shoot 'Em," those are pretty dull. The annotation could have been better for things like recording and original release dates, but it's well worth purchasing for the Byrds fanatic, despite its wildly varying styles, from early-'60s folk-pop and classic-styled '60s folk-rock, to country-rock and more. (Richie Unterberger, Allmusic)
Bonus 3 of 3
The Staple Singers - Fillmore Auditorium, San Francisco April 4, 1968 @320
http://www13.zippyshare.com/v/16356668/file.html
Born in 1915, Pops Staples began his musical career as a solo blues guitarist performing at local dances and picnics in and around his home base of Winona, Mississippi. In the late 1930s, he began singing and playing with a gospel group, the Golden Trumpets, prior to relocating to Chicago, where he continued performing gospel music with Chicago's Trumpet Jubilees. In the late 1940s and early 1950s, Pops began including his two young daughters, Mavis and Cleotha, along with his son, Pervis, into his performances, and the Staple Singers were born. Early on, the group's material consisted mainly of plantation spirituals, blues, and gospel numbers, but by the late 1950s they were also embracing Civil Rights-oriented protest songs. By the mid 1960s, contemporary folk, rock, and soul songs all found there way into the Staples Singers repertoire, creating a genre all their own, often referred to as "soul-folk."
At the time of these performances, they had been recently signed to the Memphis-based Stax label. Their initial recordings for Stax featured the group backed by the legendary band, Booker T. & the MGs. The two albums released that year, Soul Folk in Action and We'll Get Over revealed the group to be adept at fusing a diverse range of existing styles into a sound unlike anyone else. This was also a time of rapid social changes in America, which the Staple Singers were deeply aware of.
These 1968 Fillmore Auditorium recordings, where the group performed on a bill that included jazz legend Rhaasan Roland Kirk and psychedelic-rock pioneers Love capture the Staple Singers at this pivotal time, bridging sacred and secular, modern and traditional into music with a message as powerful as its sound. Unlike their Stax releases that year, here the group is stripped down to the basic elements of emotive vocals backed only by the bluesy vibrato of Pops Staples' guitar. This makes these powerful performances all the more impressive.
The entire family was comprised of gifted ensemble vocalists, but, by this point, daughter Mavis was clearly the most outstanding singer in the group. Blessed with a rich and powerful contra-alto, her innate command of vocal phrasing and timbre manipulation exuded both spirituality and sensuality in equal measure.
Older gospel and blues numbers that established the group's early reputation are here, like "Freedom Highway," "See That My Grave Is Kept Clean," "Move Along Train," and the ecstatic "Help Me Jesus," which closes the set (this is unfortunately cut after 2 minutes here, but can be found in almost its 10-minute entirety on the recording of the previous night.) This set also includes soulful twists on classic folk songs like "If I Had A Hammer," "John Brown," and "Will The Circle Be Unbroken." But also check out the group's intriguing arrangement of the Buffalo Springfield anthem "For What It's Worth," which demonstrates that this group was quite adept at transforming a distinctive contemporary song and making it uniquely their own.
One need not be religious to appreciate the Staple Singers, as their true message focused on issues of equality and self-empowerment. Those issues resonated strongly with audiences and are clearly evident on these vintage Fillmore performances. The message and incredible vocal delivery remained consistent for decades to come and in 1972 they would finally gain international recognition, achieving a number one hit with "I'll Take You There." This was followed by the equally captivating "Respect Yourself," another Top 40 hit. But even at these Fillmore recordings, four years prior, the basic elements and message were firmly in place, giving this music the same universal appeal.
I'm in the city today, but I had these three bonus selections with me to send from my iphone. So I hope you enjoy - this is the first time I've sent it in this way.
Yet another post with bonuses that are just as exciting as the (great!) main item. Thanks so much!
Thanks
From your phone to my ears, nice.
the tate worth price of admision w orig part time lover covered by srv. and the staple singers sound/performance pristine. any more fillmore tapes of them? thanx
Thanks for the BYRDS PARTS, RYP!
BYRD PARTS 1
http://www41.zippyshare.com/v/88902496/file.html
INFO
http://www.allmusic.com/album/byrd-parts-mw0000600988
http://www.discogs.com/Various-Byrd-Parts/release/4676462
BYRD PARTS 2
http://www41.zippyshare.com/v/22744979/file.html
INFO
http://www.allmusic.com/album/byrd-parts-vol-2-mw0000027602
http://www41.zippyshare.com/v/22744979/file.html
phone or pc, it's always great music, big thanks
Thanks for the Byrds stuff!
Rank Stranger
Such cool Howard Tate music, G. Thanks so much. Hope your city day was a great one.
Iggy
The Howard Tate is very appreciated, and the Byrds collection is the icing on the cake! A successful first attempt phone share if I've ever seen one. Thanks as always!
Howard Tate is stand out singer. Thanks for the post.
Dig it! Thank you for this!
Howard Tate! Just another typical outstanding posting. Thanks so much for all the work you put into these presentations.
Thank You.
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