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"hi ryp, i think the jam are proper heirs of '60ies soul. they continued the concept of style, elegance and melody during the early hot days of punk. so, please enjoy their 1997 five cd box set "Direction Reaction Creation". as usual also you'll find a high quality pdf of booklet. keep the faith!!" - skampus
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"A band that insouciantly blended high and low, virtuosity and amateurism, calypso and science fiction, pots and pans and drones and the Supremes. They released several records, on a British label, which did very well in the former Yugoslavia." -Luc Sante
In the early 1980's, Jim Jarmusch was part of a band called The Del-Byzanteens. They released a 7" single, "Draft Riot", a 12" EP, "Girl's Imagination", and one LP "Lies to Live by".
The group consisted of (from left to right):
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It must be hard to name your album Rock and Roll, it's too brash a statement with the potential for promising way more than average bands can handle. Not a problem for the Cynics. This masterpiece is the very Definition of Rock and Roll. This is hands down their best album, when I got this one home on vinyl I was SHAKING. Play side 2 (er, tracks 8 through 14) first, the CD plays like a garage band opera with MUCH more impact if you start with "Baby What's Wrong", put "The Room" in the middle, kick the tension back up with "You Got The Love" and let your whole world come crashing down in the dynamics of "Cry, Cry, Cry", which features the most blood-curdling rock scream EVER. Do not attempt to debate this with me, I will not be moved! If somebody would PLEASE, GOD! re-release this and The Miracle Worker's Overdose on CD, I could die a happy man knowing kids men and women everywhere could get their hands on such glorious genius. Too good to die, ever. Reviewer: mptesteroni (enjoying much-needed R and R from Star Wars)
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Best known for his original rendition of "Cry Baby," later a major item in Janis Joplin's repertoire, Garnet Mimms' pleading, gospel-derived intensity made him one of the earliest true soul singers. His legacy remains criminally underappreciated, since for some reason he never scored another hit on the level of "Cry Baby," but his output from the early to mid-'60s -- a blend of uptown sophistication and earthy, impassioned vocals -- has earned comparisons to Sam Cooke and Jackie Wilson from hardcore soul aficionados.
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Wright began singing in church and later fronted a gospel music group, the Harmony Echoes. It was during this time that he was discovered (along with James Carr) by Roosevelt Jamison a songwriter and manager. Their first pop recording in 1964 was "That's How Strong My Love Is", an impassioned ballad later covered by Otis Redding and the Rolling Stones. It was issued on Goldwax, the label Wright signed to after leaving his gospel career. It determined that Don Robey had him under contract, due to his gospel group recorded for Peacock. After his contract was shifed to Don Robey’s Back Beat label, further R&B hits followed, with Wright's plaintive delivery excelling on the slow material. Working with producer Willie Mitchell, success continued on songs including "The Ace of Spades" and "A Nickel and a Nail".
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Sid (Matthew Sweet, after his character's name in the Austin Powers band Ming Tea) and Susie (Susanna Hoffs, who joined him and Mike Myers in belting out "BBC" on the soundtrack) are in as fine voice as ever on Under the Covers, Vol. 1, a 15-song collection of tunes first made famous by the likes of the Beatles, the Beach Boys, the Mamas and the Papas, and the Who. And man, were they born to sing this stuff. Both the Bangles and Sweet discographies are derivative--in the best possible sense--of late-'60s pop-rock, and who didn't love the Merry-Go-Round, Grass Roots, Simon & Garfunkel, and Big Star covers Hoffs and company scattered among their originals? Recorded at Sweet's home studio in the Hollywood Hills, the album opens strong with "I See the Rain," a Marmalade song from 1967 that Jimi Hendrix called the year's best British single but was a hit only in the Netherlands. Maybe Sweet's stinging, ringing fretwork (he plays most of the non-percussion instruments on this disc) and Hoffs's throwback vocals will rectify that, nearly 40 years later. The two proceed to nail the Beatles' "And Your Bird Can Sing," one of the high points on Revolver, and score similarly with Fairport Convention's "Who Knows Where the Time Goes?" (Hoffs in full ballad mode), the Stone Poneys' "Different Drum," the Who's "The Kids Are Alright," Love's "Alone Again Or," and a pair of Neil Young numbers, "Cinnamon Girl" and "Everybody Knows This Is Nowhere." Some of the selections do miss the mark--Hoffs's smoky-sweet backing vocals seem a little misplaced on Dylan's "It's All Over Now, Baby Blue," and "The Warmth of the Sun" was probably the wrong Beach Boys track for Sweet to attempt (Brian Wilson himself strains at those high notes nowadays). But by and large this is a delightful power-pop excursion. Van Dyke Parks's liner notes, keyboards, and string arrangements make it that much better, as do Sweet collaborator Ric Menck's drums, Ed Fotheringham's illustrations, and Henry Diltz's photographs (Hoffs looks as stunning today as she did when laying down All Over the Place). - Benjamin Lukoff
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The Pillowcase EP" is a companion piece to the recent full-length CD release "Under The Covers Volume One" by Matthew Sweet and Susanna Hoffs' (AKA Sid & Susie) released in May 2006 on Shout Factory Records. This double-7"-vinyl release features four cover songs, naturally. Two of the songs are taken from the album: "I See The Rain" (The Marmalade) and ""She May Call You Up Tonight" (The Left Banke). The other pair are studio outtakes *exclusive* to this vinyl release: "Village Green Preservation Society" (The Kinks) and "I Can See For Miles" (The Who). The double-7" is housed in a handsome full-color gatefold jacket. This limited edition vinyl release features guest appearances by "Pet Sounds" collaborator Van Dyke Parks, Television guitarist Richard Lloyd, and Velvet Crush drummer Ric Menck, among others. ALL MUSIC GUIDE: "The affection that Sweet, Hoffs and company display for this music is the reason to hear this record: they're having such a good time playing their favorite songs, it's hard not to smile along as well."
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After a prolonged dry spell, Adams resurfaced in 1968 with an impassioned R&B revival of Jimmy Heap's country standard "Release Me" for Shelby Singleton's SSS imprint that blossomed into a national hit. Even more arresting was Adams' magnificent 1969 country-soul classic "Reconsider Me," his lone leap into the R&B Top Ten; in it, he swoops effortlessly up to a death-defying falsetto range to drive his anguished message home with fervor. (Bill Dahl, AMG)
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We've all heard about the lowdown dirty blues, but just how low down and just how dirty can you get? Bear Family provides the answer in this ultra-smutty, ultra fun party CD. A hit with many church groups and parent-teacher associations, it is truly the living end when it comes to bad taste. You'll hear established blues giants and vocal groups like Amos Milburn, Dinah Washington, Boozoo Chavis, the Blenders, the Clovers, the Treniers, Bullmoose Jackson, Julia Lee, and Wynonie Harris extol the joys of oiling the jig on songs like Rotten Cocksuckers Ball, Poon Tang, Big Long Slidin' Thing, Big Ten Inch, Don't Fuck Around With Love, Drill Daddy Drill, and many more.
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James (born May 12, 1944) and Bobby (born September 2, 1939) of this Southern soul duo were not actually brothers but cousins. James Purify and Robert Lee Dickey joined forces for some classic Southern soul duets during the mid-'60s. Producer Papa Don Schroeder brought the soulful Floridians to Muscle Shoals in 1966 to record at Rick Hall's Fame studios, and the result was the gorgeous mid-tempo "I'm Your Puppet." The Dan Penn/Spooner Oldham ballad proved their biggest hit for the Bell label, although "Let Love Come Between Us" and their revival of the Five Du-Tones' "Shake a Tail Feather" also made some major noise in 1967. If you do like "I'm Your Puppet" in particular, you'll probably go for the half a dozen or so other tracks in which Dan Penn and Spooner Oldham were also involved in the songwriting, like "So Many Reasons" and a version of "You Left the Water Running" that stands up to the better-known one by Otis Redding. For more up-tempo numbers, their interpretation of "I Take What I Want," with fuzzy guitar to the forefront, is at least as good as the more famed version by Sam & Dave.(BILL DAHL, AMG)
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In 1963 Fantasy hired legendary LA production team Cliff Goldsmith and Ray Shanklin to furnish artists and masters for their R&B subsidiary. Over the next two years the team would produce a small but perfectly formed catalogue of classy, soulful blues of the highest quality, showcased for the first time on "Diggin’ Gold – A Galaxy Of West Coast Blues". Of the acts Goldsmith and Shanklin brought to Galaxy, by the far the most successful was Little Johnny Taylor, whose 1963 single ‘Part Time Love’ was a huge hit in that era and has since become a blues standard. Taylor’s prolific release schedule has been anthologised elsewhere, but with "Gold Diggin’" we are proud to present seven tracks by this exemplary blues stylist that are totally new to CD, including three titles previously unissued on any format. Also featured on the compilation are blues stalwarts such as Clay Hammond and Saunders King, along with a handful of more obscure acts such as Del Cunningham, Joe Johnson, Billy Keene and Rob Robinson. All these singers are staunchly in the same gutsy gospel-blues mould as Taylor, and similarly, are backed by the jazzy horn charts, stinging guitar and meaty rhythm section of Shanklin’s fabulous accompaniment. Many of these original Galaxy singles are also exceptionally rare. All tracks were cut in Los Angeles 1963-65, with this being the debut on CD for 22 of the 24 sides. Meticulous research in the Fantasy vault has meant the original session tapes have been utilised throughout, making this a feast for the ear of any discerning blues aficionado.
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