The third volume in the legally dubious but musically rock-solid Soul Cargo series digs much deeper into the crates than its predecessors -- the sheer volume of obscure soul singles here is astounding, and better still, is matched by the music's consistency and quality. The clear highlight is the Jewels' "Opportunity," a slinky, swaggering classic that's arguably the most sublimely soulful girl group record ever cut -- there's also the Bob & Earl perennial "Harlem Shuffle" (later covered by the Rolling Stones), and "Experiment in Terror!," a rare soul instrumental by the great Henry Mancini. But by and large, this stuff is rare and almost totally unknown -- other highlights include Clay Hammond's "Dance Little Girl," Alvin Cash's "Alvin's Boogaloo," and Donald Austin's "Pea Shooter." For aficionados of rare grooves, it's hard to pass up. (Jason Ankeny, Allmusic)
trax:
1. Let Me Know - Billy Preston 2. Let Me Your Boy - Wilson Pickett 3. Sweet Inspirations - Sweet Inspirations 4. My Back Scratcher - Frank Frost 5. Ali-Baba - Champs 6. There Goes My Baby - Garmel Minns 7. Song For My Father - Horace Silver 8. Daddy Rollin Stone - Derek Martin 9. San-Ho-Zay - Freddy King 10. Cant Hold Back The Tears - Little Milton 11. Viva Tirado - El Chicano 12. Fever - Earl Grant 13. Please Love Me - Betty Everett 14. I Miss You Baby - Mary Johnson 15. The Horse - Cliff Nobles & Co. 16. I Dont Wanna Hear It Baby - Grover Mitchell 17. Safe And Sound - Fontella Bass 18. Soul Smokin - Little Grady Lewis 19. Do It One More Time - Alvin Cash 20. Foolish - Eddie Harris
...served by Mr.Eliminator, Steve626 and Skip…
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36 comments:
"SOUL CARGO" Vol. 3
...served by Mr.Eliminator, Steve626 and Skip…
gitit! no pw
Mr.Eliminator's 320k
http://www4.zippyshare.com/v/MAEdPs4x/file.html
Steve626 192k
http://www60.zippyshare.com/v/74dSSt6P/file.html
Skip 192k
http://www49.zippyshare.com/v/SnZR3qVH/file.html
Thanks for the soul cargo.I know I'm going to look a bit of a twat for asking so pardon my ignorance, what is the difference between 192k&320k?
cheers,Tel
Well, I try to get everything is 320 but, to tell you the truth, to my ears... I can't hear a difference. Jillem swears that there is a difference but I figure that with all the vinyl rips and the old releases that are posted here there really isn't much more quality in 320 than there is in 192. How can a low fidelity record be enhanced just by copying it to a higher bandwith?
If it was ripped as an actual 320 bit rate and has not been transcoded, 320 will sound better and closer to what the original source sounds like.
320k is the higher resolution than 192k and needs more disc space... and now I declare the bazar open for an endless discussion about hifi!
Thanks RYP.
cheers,Tel
BONUS 4 OF 6
The Devil Hates You -
AKA ”I HATE CHERRIES" Serious '50's Female Jivers @320
Big-voiced female jumpers and jivers from the mid-1950s. This CD surveys some of the less-conspicuous examples of Rhythm & Blues The middle-1950s gave rise to a re-birth of the big-voiced female blues shouters who had first been heard on records some three decades earlier with the arrival of Ma Rainey, Bessie Smith and many others who followed in their footsteps. In the immediate aftermath of World War II, cocktail jazz and torchy ballad singers seemed to predominate among the femme record names, what with the popularity of Nellie Lutcher, Dinah Washington, at al holding sway with the recordbuying public. But the brand of jump blues pioneered by Louis Jordan and his followers also gave rise to the return of full-throated female warblers which seemed fully underway by 1953, when Willie Mae "Big Mama" Thornton and Big Maybelle Smith scored their Top 10 R&B successes with "Hound Dog" and "Gabbin' Blues" among others. They would soon be followed by Ruth Brown, Lavern Baker, Etta James and other successful practitioners of the style, whose influence carried over into the pop field with recordings by Georgia Gibbs, Lillian Briggs, Helene Dixon and many more. This CD compilation attempts to survey some of the less-conspicuous examples of big-voiced female R&B shouters, some of whose names have been lost to the archives, and others who went on to fame and fortune as their careers changed direction with the times. (Dusty Groove)
trax:
1. The Devil Hates You - Rebecca Lea 2. Somebody, Somewhere - Helen Foster 3. The Yodelin' Blues - Diana Cole w/Ernest Hayes Orch. 4. Let The Good Things Start - Pearl Woods 5. You Ain't Movin' Me - Linda Hayes w/Earl Warren Orch. 6. My Baby's Comin' Home - Ruth McFadden w/Sammy Lowe Orch. 7. Hey Joe (Let Me Know) - Sugar & Spice 8. Shake Till I'm Shook - Beverly Wright & The Students 9. My Heart's Delight - Dakota Staton w/Howard Biggs Orch. 10. Dilly Dally Darling - Anne Kaye w/Jimmy Wright Orch. 11. A Million Thanks - Anita Tucker 12. Rock And Roll Blues - Linda Hopkins 13. Wanna Be Loved (All Nite Long) - Bee Bee Queen w/Teacho's Orch. 14. I Can't Wait - Pearl Woods 15. Willie - Rebecca Lea 16. You Ain't So Such A Much - Blanche Thomas 17. Don't Mean Maybe - Dakota Staton w/Howard Biggs Orch. 18. Why Do You Hurt Me Darling - The Gay Charmers 19. When Are You Comin' Home - Chubby Newsom With David Clowney Orch. 20. My Loving Baby - Linda Hopkins 21. I Was A Fool For Leaving - Vikki Nelson 22. Doo-Ba-Dee - Dorothy Forbes w/David Clowney Orch. 23. Teenage Holiday - Vicki Evans 24. Come Back Baby - Linda Hopkins
http://www75.zippyshare.com/v/ANiobkZT/file.html
INFO
http://twilightzone-rideyourpony.blogspot.com/2011/05/i-hate-cherries-serious-50s-female.html
BONUS 5 OF 6
THE STORIES - About Us '73 @320
Few one-hit wonders have ever been as thoroughly misleading as Stories and their cover of Hot Chocolate's "Brother Louie." Stories turned Hot Chocolate's tale of interracial love into an early-'70s AM pop classic, a number one hit in 1973 and a staple of '70s oldies radio and compilations from that point after, but its very omnipresence hurt the band, suggesting they were another faceless studio-created outfit, maybe even a bubblegum group, when they were nothing of the sort. Stories was the brainchild of former Left Banke pianist/songwriter Michael Brown, who wrote the baroque classics "Walk Away Renee" and "Pretty Ballerina" for the group, and bassist/singer Ian Lloyd. The two were paired after Brown signed to Kama Sutra in 1971, with Lloyd bringing in associates drummer Bryan Madey and guitarist Steve Love, thus completing Stories. Brown and Lloyd collaborated on two albums but Brown did not stick around to finish the second, 1973's About Us, due to his dissatisfaction with the direction Lloyd and producer Eddie Kramer were taking the band.
About Us is a completely different story altogether. No work is required of the listener on this second album by Stories, as Eddie Kramer's cinematic production gives the band definition and drama, pulling them into the leagues of such power poppers as Badfinger, the Raspberries and Todd Rundgren. Not that Stories rocked as hard as any of those three -- there's not much kinetic thrust to their rhythms or reckless abandon to their playing, not even on the boogie "Don't Ever Let Me Down" or the jokey blues of "Down Time Blooze" -- but there's muscle and color to their sound on About Us; the songs leap out of the speakers and command attention, unlike the tunes on the debut, which whispered and required close listening. Not that Michael Brown has abandoned his long-standing infatuation with delicate melodies, or even his fondness for McCartney-esque whimsy, but when put through the filter of Kramer's production, everything becomes bigger and bolder, to the extent that a jaunty piano instrumental, "Circles," recalls nothing so much as one of Billy Joel's ragtime tunes of the early '70s. Such moves toward the mainstream are undoubtedly why Brown bolted sometime during the recording, leaving the band as the sole province of singer Ian Lloyd, but the music left behind is almost all unmistakably Brown's, as it's all driven by melody and even occasionally built upon baroque keyboards. The major difference and inarguable improvement is in the production, which fleshes out the songs, not only making them easier to appreciate but harder to resist, turning About Us into a minor power pop classic. Of course, the exception to the rule is the album's lone hit, a lush cover of Hot Chocolate's "Brother Louie," which suggested Stories were a blue-eyed soul AM pop band, a suggestion that the rest of the album proved untrue but fewer people heard the other 12 songs on this album, not just in 1973 but throughout the years, so About Us turned into a lost pop classic that even pop aficionados had to be persuaded to find. But once they were persuaded, they were often seduced by this sumptuous yet powerful pop album. (Bruce Eder, Allmusic)
http://www60.zippyshare.com/v/R0bE6mpW/file.html
INFO
http://www.allmusic.com/album/stories-about-us-mw0000478694
http://www.discogs.com/Stories-Stories-About-Us/release/2077481
BONUS 6 OF 6
JESSE DAYTON - Country Soul Brother '04 @320
Hang on! After the title track storms out of the chute like a bucking bronco, Jesse Dayton takes listeners on a wild ride across roadhouse country. He swaggers his way through "Tall Walkin' Texas Trash" as if channeling the cocksure spirit of Waylon Jennings (with whom Dayton recorded as a guitarist) and conjures the border cantina atmospherics of Doug Sahm on the accordion-laced "All Because of You" and "Moravia." The album takes a detour with a revival of the Cars' "Just What I Needed," rearranged for fiddle and steel guitar. Best of all is the down-home soul of "Ain't Grace Amazing." Riley Osbourn's keyboards and Carolyn Wonderland's backing vocals add a bluesy strain, while the horn charts on "It Won't Always Be Like This" and "Just to Get You Off My Mind" sound more Memphis than Nashville. With some down-and-dirty guitar powering "Talkin' Bobby Dale's Hard Luck Blues," the album never loses its reckless energy nor compromises its independent spirit. --Don McLeese
One doesn't necessarily think of country and soul as two complementary styles, but anyone with a long memory will know that country -- at its outset -- worked hand in hand with the blues. So Jesse Dayton's idea of combining Southern fiddles and B-3 organ on a dozen songs isn't all that radical after all. He kicks off the album with the title track, a rollicking fun song about life on the road. As with the tracks that follow, Dayton and the band keep things tight and focused, seldom venturing beyond the three-minute mark. The arrangements, while delivering something one might call "country-soul," vary enough from song to song to keep the album from becoming predictable. There's accordion on "All Because of You," acoustic fingerpicking on "Jesus Pick Me Up," and harmonica on "Ain't Grace Amazing." Dayton also shows how easy it is to turn a rock song like the Cars' "Just What I Needed" into a bluesy bit of country. With the exception of "Just What I Needed," Dayton has written all of the material, and to top everything else off, he's a solid, versatile singer. For anyone interested in a soulful country album that never seems alternative, but likewise wouldn't be confused with contemporary Nashville, Country Soul Brother will fit the bill. (Allmusic)
http://www6.zippyshare.com/v/GVhMd4E5/file.html
INFO
http://www.allmusic.com/album/country-soul-brother-mw0000307541
http://www.amazon.com/Country-Soul-Brother-Jesse-Dayton/dp/B0003JAK94
Thank you Mr.Eliminator, Steve626 and Skip for helping share Soul Cargo, Vol. 3. It's very appreciated. I'm happy for all the shares, but especially for finding a 320 copy of these stellar comps. Hopefully we will do the same with Vol. 5 and 10 in the series (since those I am missing on CD).
Gyro did you get vol 10 soul cargo that i sent you thanks
I got the Soul Cargo Vol. 10 @ 128. I also got a Vol 10 at wma format (not tagged) that I don't use. I will keep the 128 until I can find a 192 or even higher but rate version. Thanks in advance for any help and for those who have already helped.
Same question, did you get Volume 5 & 10 of Soul Cargo?....Skip
Gentlemen, thanks for the Soul Cargo rips. Are all 3 of these rips of the actual CD?
Thanks to all concerned for the goodies. As far as the 320/192 debate goes, I'd like to say that "the older the ears, the less difference you can hear" and "the rarer the music, the more willing to take it in any form at all." Bottom line to everyone: ENJOY.
Iggy
Thank you Gyro for The Stories.
heylee
Thanks for Soul Cargo. Very nice series!
<>
The difference is 128k.
(Okay, don't hit me!) :-)
Thanks for (and) the Soul Cargo series
They are fantastic
Cheers from Athens GR
Manos
Yes Skip I have the 192 Soul Cargo 5 and Soul Cargo 10 @ 128. Thank you so much.
Thanks
A word for those (like myself)who are into tagging recording/release dates:
While the album cover may state "Soul Cargo, back in 1966" only a handful of these recordings are from 1966.
45cat.com lists almost all of these records.
JohnnyDiego, another way to look at it is that a 192kbps file is still better resolution than what you are getting from a DAB radio broadcast in the UK. So if you are happy with the sound of BBC Radio6 Music on your radio (for example), there's no problem.
"There are no audible difference between integral audio files Wav, Flac and 320k-112k Mp3. Only if you rip it below as 96k there could be some declines in sound but nothing drastic."
This is true only if you are listening to the digital audio files on very low-end speakers, for example the speakers built into a laptop or tablet.
If you play the soundfiles back on any sort of decent external speaker system, it is easy to tell the difference between FLAC files uncompressed as .wav files(typically, 1440 kbps), and MP3 audio at 320 kbps. As the comparable bit-rates indicate, even a non-HD .wav file has a much richer sound than the highest-quality MP3 file.
FLAC or .wav files are called "lossless" because no sound quality is lost through audio compression. A lossless audio file (archived as FLAC) therefore typically takes up 2½ times as much storage space as a "lossy" 320 kbps file. MP3's are called "lossy" because their much smaller size is achieved through a big loss of audio quality.
So, if you have the storage space, a lossless file always is preferable to a lossy MP3 file. These days, storage is cheap (you can find a new, 2TB external drive fort under $100). Trust me, once you start listening to lossless audio you will notice the improvement.
Jazz Shellac - I can hear a difference in file sizes, especially when I play the music at home on my good system. But if I play it at work or in the car it is not much of an issue.
Hi all, in my experience there is a great audible difference between 192 and 320k and not just if played back through my hifi but also my mp3 player and earphones.
D
I trust you, Mr. Shellac.
May I join the discussion? Thx, Even if not allowed to join :P
I don't hear much difference. Yet, I try to get my stuff in 320 too. As RYP says, it takes more space but hey, disc space is cheap these days!
320k or 192k,thanks for you words of wisdom guys.
cheers,Tel
Sorry, and ladies if any.
cheers,Tel
Mp3 above 192kbs is usually acceptable. The thing is when persons use volume normalization in Their burning programs, or use mp3 gain to normalize files. I know all people have one this is mine, this is a distortion of the original audio. If one has the disk space flac is the method to use, and the upload space etc.
Wow. I stirred up a mini-controversy. Let me just say, I only wanted to explain what I thought was a misunderstanding about sound quality. I don't want to be thought of as a bit-rate snob. I appreciate the generosity of everybody who participates here, irrespective of bit-rate. But, more is always better. To quote Robert Hunter, "Too much of anything is just enough."
Here is a peace offering:
FESTIVAL IN THE DESERT 2004
01. Super 11 - Takamba Super Onze
02. Buri Baalal - Afel Bocoum
03. Tihar Bayatin - Tartit
04. Win My Train Fare Home - Robert Plant
05. Ya Moulana - Sedoum Ehl Aida
06. Jah Kas Cool Boy - Lo' Jo
07. Wayena - Oumou Sangare
08. Karaw - Ali Farka Toure
09. Aldachan Manin - Tinariwen
10. Politique - Adama Yalomba
11. Ariyalan - Tidawt
12. Chameaux - Ludovico, Einaudi & Ballake Sissoko
13. Ihama - Kel Tin Lokiene
14. Le Juge Ment - Kwal
15. Wana - Tinde
16. Koultouleili-Khalett La - Aicha Bint Chighaly
17. Oubilalian - Igbayen
18. Fady Yeina - Baba Salah
19. What Do You See - Blackfire
20. Laisse-Moi Dire - Django
MP3 @ 320 + Art:
http://www69.zippyshare.com/v/rRzMjT0F/file.html
More information
http://www.discogs.com/Various-The-Festival-In-The-Desert/release/2478912
Electric Guitars, Camels, and the World’s Stage in the Sahara:
Festival in the Desert CD Features Ali Farka Touré,
Oumou Sangaré, Tinariwen, Lo’Jo, and Robert Plant
http://archive.rockpaperscissors.biz/index.cfm/fuseaction/current.press_release/project_id/108.cfm
"Festival In The Desert 2004: Roadmovie"
video by "Rasflo"
https://vimeo.com/60236874
Throwing an enormous Woodstock-style music festival in the middle of the Sahara desert -- the gorgeous photos included in the booklet to Festival in the Desert make clear -- isn't exactly easy. Held during the last three years in the shifting sands of northern Mali, the Festival in the Desert has brought together a mix of desert nomads and pop stars to play sublimely enchanting music in some of the harshest but most starkly beautiful conditions imaginable. Luckily for us, the 2003 Festival produced this impressive and varied CD, mixing together tracks from Malian superstars like Oumou Sangare and Ali Farka Toure with lesser knowns like the Mauritanian singer Aicha Bint Chinghaly and the desert nomads Tinariwen, who a few years ago traded their rifles in for electric guitars when the civil war in northern Mali abated. The biggest name here, of course, is Robert Plant, who turns in a wailing medley of old blues tunes. But Led Zeppelin-heads who buy the CD just for him -- particularly those drawn to the Middle-Eastern strains of Plant's music from "Kashmir" through his recent collaborations with Jimmy Page -- are in for quite a pleasant surprise when they hear the rest of the disc. What comes across the most, despite the star power present, is the energy of the live performances in such an extraordinary setting, making the Navajo rock band Blackfire, the gorgeous duet between Italian pianist Ludovico Einaudi and the Malian kora player Ballake Sissoko, the otherworldly collaboration between French rappers Kwal and the Touareg (desert nomad) guitarist and singer Foy-Foy, and the French sisters Lo'Jo's duet with Malian guitarist Django all sound like natural pairings, unfolding together under the Saharan sky. --Ezra Gale, amazon.com
@anonymous
Actually, you've misused the term "normalize". You meant to say "compress", as in reducing the range between the loudest and softest sounds. Normalizing is where one resets the overall level of several tunes to the same value, but those tunes are not necessarily compressed - their range remains intact, but the center point of that range has been shifted up or down. In turn, this means that going from one tune to the next on your player, you aren't straining to hear one song, and suddenly get blasted by the next song that was louder, perhaps much louder, than the previous one. I don't, and most other listeners don't consider normalization to be a reduction in fidelity. (Again, what you meant by using the word distortion.)
Now, as to compression... I wish I could live long enough to see you reach my current age - you'll change your tune, soon enough. As one ages, one's hearing becomes less adaptable to louder and softer volume levels. Compression allows us to hear much more of the overall tune/song, without having to constantly fiddle with the volume control. The most likley example would be in one's car, where road noise easily drowns out softer passages - compression, to some degree, makes life much easier for us old farts, in situations like this.
Yes, compression is distortion of sorts, but then again, if distortion were a four-letter word, then we would've never seen the likes of famous blues guitar players like, well, every blues guitar player out there in the last 70 years!
Stated simply, there's a time and a place for everything... and once in a while it's appropriate to violate that rule!
sumgai
Compression means loss... I can hear a difference between 192 and 320k... No doubt!
Tel, 128k.
Ho ho, I always ask the question: ''Is it possible for a human being to hear difference between 320kb or 192kb?''
The answer is no.
For most music it's impossible to hear difference between FLAC or MP3/Vbr0
But if a record is really good you want FLAC, even if the recordings are 100 years old.
What is Magic 'Master of Conversion' Kaic's opinion on this matter?
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