Size: 129 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Huey "Piano" Smith (born January 26, 1934, New Orleans, Louisiana[1]) is an American rhythm and blues pianist whose sound was influential in rock and roll.
His piano playing incorporated the boogie styles of Pete Johnson, Meade Lux Lewis, Albert Ammons; the jazz style of Jelly Roll Morton and the piano playing of Fats Domino.[1] Allmusic journalist, Steve Huey, also noted "At the peak of his game, Smith epitomized New Orleans R&B at its most infectious and rollicking, as showcased on his classic signature tune, "Rockin' Pneumonia and the Boogie Woogie Flu.
Smith was born in New Orleans' Garden District, and was influenced by New Orleans' piano innovator, Professor Longhair. He became known for his shuffling right-handed break on the piano that influenced other Southern players.
Smith wrote his first song on the piano, "Roberson Street Boogie" (named after the street where helived), when he was only eight years old, and performed the tune with a friend. They billed themselves as Slick and Dark. Smith attended McDowell High and Xavier University of Louisiana in New Orleans. When Smith was fifteen he began working in clubs and recording records with his flamboyant partner, Eddie Jones, who rose to fame as Guitar Slim.[4] When he was eighteen, in 1952, he signed a recording contract with Savoy Records, which released his first known single, "You Made Me Cry". In 1953 Smith recorded with Earl King.
In 1955, Smith turned 21, and became the piano player with Little Richard's first band for Specialty Records. The same year he also played piano on several studio sessions for other artists such as Lloyd Price. Two of the sessions resulted in hits for Earl King ("Those Lonely Lonely Nights"), and Smiley Lewis ("I Hear You Knocking").
In 1957, Smith formed 'Huey 'Piano' Smith and the Clowns' with blues singer and female impersonator Bobby Marchan, and signed a long term contract with former Specialty record producer, Johnny Vincent at Ace Records. They hit the Billboard charts with several singles in succession, including a breakout Top Five R&B hit entitled "Rockin' Pneumonia and the Boogie Woogie Flu".[ The record was issued as "Rockin' Pneumonia and the Boogie Woogie Flu Part 1" on the topside, (a vocal) and "Rockin' Pneumonia and the Boogie Woogie Flu Part 2", an instrumental, on the flip. The lyrics were written by John Vincent, and the record sold over one million copies, achieving gold disc status.
In 1958, Vin Records, a subsidiary of Ace Records, released a popular single "Little Chickie Wah Wah" with Clowns singer Gerri Hall, under the billing of Huey and Jerry. Meanwhile, Ace Records released several more singles from 'Huey "Piano" Smith and the Clowns', including "We Like Birdland", "Well I'll Be John Brown", and "Don't You Know Yockomo".
Their most famous single, released in 1958, "Don't You Just Know It" b/w "High Blood Pressure", hit number 9 on the Billboard Pop chart and number 4 on the Rhythm and Blues chart.[2] It was their second million seller.
In 1959, Ace Records erased Huey Smith's vocal from the now classic single Smith composed, arranged and performed entitled "Sea Cruise", and replaced it with a more energetic vocal track by white singer Frankie Ford. The tune was a huge hit for Ford.
Smith left Ace Records for Imperial Records, to record with Fats Domino's noted producer (and fellow Louisianan) Dave Bartholomew, but the national hits did not follow. Instead, Ace Records again overdubbed new vocals by Gerri Hall, Billy Roosevelt and Johnny Williams on another one of Smith's unreleased tracks, to produce the last hit single credited to Huey "Piano" Smith, entitled "Pop-Eye".
In the years following, he made several comebacks, performing as 'Huey "Piano" Smith and the Clowns', 'The Hueys', 'The Pitter Pats', and as 'Shindig Smith and the Soul Shakers', but he has never attained his former degree of success. Thereafter, Smith joined the Jehovah's Witnesses, and left the music industry permanently.
In 2000, Smith was honored with a Pioneer Award by the Rhythm and Blues Foundation
01. She Got Low Down (2:35)
02. Somewhere (2:04)
03. Rockin' Behind The Iron Curtain (2:16)
04. Somebody Put A Tack (In My Cotton Pickin' Chair) (2:30)
05. Doin' The Beatnik Twist (2:23)
06. We Want Him Under Alimony (2:12)
07. Scald Dog (2:37)
08. Susie Q (2:34)
09. Free Single And Disengaged (2:10)
10. Tuber-Cu-Lucas & The Sinus Flu (2:29)
11. I Tried (2:09)
12. Mean, Mean, Mean (2:34)
+ Bonus Tracks (26 tracks in total)
1.
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Size: 326 MB
Bitrate: 256
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Source: Japan SHM-CD Remaster
The Kinks are the Village Green Preservation Society is a pop-rock album released by the English music group The Kinks on November 22, 1968. Songwriter and band leader Ray Davies crafted the concept album as a gentle homage to English hamlet life, and by extension, to the innocence and idealization of past times and people. The songs were assembled from material recorded over a two year period prior to the album's release, as Davies moved away from producing commercial hit singles and into a more personal, nostalgic style of songwriting. Many of the songs recorded prior to the early summer of 1968 may have originally been intended for a Ray Davies solo album and/or stage show related to the loose "village green" theme, because Davies was unsure whether they fit the Kinks' musical image and style. But as the concept progressed, and as the Kinks' commercial fortunes declined in 1968, the album was completed as a full-fledged Kinks project. Davies tinkered with the album until the last possible minute; he even halted the production of an early release version to revamp the song selection.
Part 1:
https://rapidshare.com/files/2832536976/Village_Green.part1.rar
Part 2:
https://rapidshare.com/files/2776043466/Village_Green.part2.rar
Part 3:
https://rapidshare.com/files/3110595336/Village_Green.part3.rar
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Part 1:
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Part 2:
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Part 3:
http://uploadmirrors.com/download/64F3L57N/Village_Green.part3.rar
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Size: 104 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Generation X was the eponymous first album from Generation X and was produced by Martin Rushent and released in 1978. The album contained the UK hit single "Ready Steady Go" which reached No. 47 in the chart in March 1978. When the album was originally released in the USA, it featured a different tracklisting, omitting three songs and adding four songs from singles. The album was remastered and re-released in 2002 with the original UK track listing and six bonus tracks from singles.
Cocky and commercial -- and sporting some of Billy Idol's better lyrics -- Generation X is more like glam or straight power pop with punk themes than pure punk. The guitar freakout at the end of "Youth Youth Youth" is the sort of noodly guitar jam you might not expect from a supposed punk band, and "Kiss Me Deadly" is a precursor to the power ballads of the '80s hair bands. The three songs here on this British edition that were omitted from the American one are of particular note: "Listen," "The Invisible Man," and "Too Personal".
"Invisible Man," with its "My Sharona" rhythm and atypically oblique lyrics, is the interesting one, although all three are minor compositions. Music buyers in the United States were treated to "Gimme Some Truth," "Wild Youth," and "Wild Dub" in exchange, which made for a slightly stronger package after all. Generation X recorded a number of non-album tracks, too, so perhaps a three- or four-disc box set of complete recordings will someday make these various international configurations obsolete.
Biography:
Although not as well as known as some of their peers (the Clash, the Sex Pistols, the Damned, etc.), first wave U.K. punk rockers Generation X burst onto the scene at the same time as the others. And while they enjoyed some moderate success in their homeland, Generation X would become better-known as the launching pad for their singer, Billy Idol, who would go on to achieve great commercial success come the '80s. Originally formed in 1976, Generation X (which was named after a book that focused on battles between the Mods and the Rockers during the '60s) was comprised of guitarist Bob Andrews, bassist Tony James, drummer Mark Laff, and fronted by Idol. The group was eventually signed up by Chrysalis Records, resulting in a self-titled debut album in 1978 (the U.S. and U.K. versions contained different track listings), as Generation X became one of the first punk bands to appear on the popular British TV music program Top of the Pops.
Unlike other punk bands, Generation X wasn't afraid to turn a blind eye to the supposed "accepted" ideals by punk rockers as they covered a John Lennon song on their debut ("Gimme Some Truth") and even hooked up with veteran rocker Ian Hunter to handle the production chores for their sophomore effort, 1979's Valley of the Dolls. Perhaps as a result, however, the group's musical direction became cloudy (some wanting the group to remain true to their punk roots, while others feeling that they should pursue a heavier rock sound) and bandmembers began to leave one by one, until Idol and James were the only remaining original members. Generation X managed to squeeze out one final album, 1981's Kiss Me Deadly (which contained the original version of a song that Idol would later cover as a solo artist and score a massive hit with, "Dancing With Myself"), before splitting up.
After the group's breakup, James later turned up as a member of '80s glam-punkers Sigue Sigue Sputnik, while Idol relocated to New York and embarked on his aforementioned solo career. As Idol's solo success created interest in his first band, numerous Generation X best-of and rarity collections began to crop up, including 1985's Perfect Hits: 1975-1981, 1998's Sweet Revenge, and 2000's Original Debut, the latter of which was a reissue of the U.K. version of Generation X's self-titled debut.
01. "From the Heart" 2:08
02. "One Hundred Punks" 3:08
03. "Listen" 3:24
04. "Ready Steady Go" 2:58
05. "Kleenex" 2:06
06. "Promises Promises" 5:18
07. "Day By Day" 2:05
08. "The Invisible Man" 2:56
09. "Kiss Me Deadly" 4:24
10. "Too Personal" 2:17
11. "Youth Youth Youth" 6:07
Bonus Tracks
No. Title Originally appeared on Length
12. "Your Generation" "Your Generation" 3:15
13. "Wild Youth" "Wild Youth" 2:53
14. "Wild Dub" "Wild Youth" 3:49
15. "Trying for Kicks" "Friday's Angels" 2:00
16. "This Heat" "Friday's Angels" 2:12
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Size: 154 MB
Bitrate: 256
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Source: Japan 24-Bit Remaster
Evolution is the first of two albums released in 1967 by British Rock band The Hollies. The album peaked at number 13 in the UK album chart.
Like its predecessor, For Certain Because, this album features only songs written by group members Allan Clarke, Graham Nash, and Tony Hicks. None of the songs on the album were selected for single or EP release in the UK.
The album cover artwork was created by The Fool, with the psychedelic cover photo by Karl Ferris, who is credited with creating the first truly psychedelic photograph for an album cover. Ferris commented on the making of the album cover during a special signing of cover prints in 1997:
“ ... they wanted to break from their 'Pop Beat' sound into something more psychedelic. So I listened to the music that they were recording at Abbey Road Studios, and got an image of them pushing through a membrane into 'the Psychedelic world', and so in summer of 1966 I took a studio shot of them pushing out their hands and the lead singer pointing through clear plastic. Over this I superimposed a shot of William Morris Art Nouveau wallpaper with an illustration and 'Love' lettering drawn by my girl friend Anke. This combination created the image of the Hollies 'pushing through to a new wave of music style and consciousness'. I worked with The Fool (lead by Simon Posthuma) on this, and they did the lettering , the back cover design and the group’s costumes. ”
The cover shown is the Sundazed 1998 rerelease, which differs from the original by having a small black rectanglular Sundazed logo present in the lower right.[4] In 1978, Parlophone reissued the stereo version of Evolution, along with Butterfly and Confessions of the Mind.
The song "Have You Ever Loved Somebody?" was released earlier (in September 1966) both by The Searchers and Paul and Barry Ryan as single a-sides. It was first released by the Everly Brothers on their Two Yanks in England album.
Evolution and it's respective singles were recorded in just six days time over the course of three months in early 1967 at the same time the Beatles were recording Sgt. Pepper's Lonely Hearts Club Band at the same studio. The first session occurred on 11 January where "When Your Lights Turned On", "Have You Ever Loved Somebody" and the B-side "All the World is Love" were completed. Work began on but was not completed for the eventual single "On a Carousel". That song was completed during the next session on 13 January along with the album track, "Lullaby to Tim". Two songs sung in Italian, "Non Prego Per Mi" and "Devi Avere Fiducia In Mi", were also recorded on that day specifically for release as a single in Italy. The next session on 22 February was dedicated to two more songs meant specifically for release in Italy, "We're Alive" and "Kill Me Quick". "The Games We Play" as well as the Graham Gouldman-penned "Schoolgirl" were also begun during this session. The bulk of album work took place in March on the 3rd, 8th and 17th. "Schoolgirl" was attempted again on the 8th but was ultimately left unfinished for reasons unknown. The final songs recorded before the album's release in June were "Carrie Anne" on 1 May and its B-side, "Signs That Will Never Change", on the following day.
01. "Then the Heartaches Begin" Clarke 2:48
02. "Stop Right There" Nash 2:28
03. "Water on the Brain" Clarke 2:27
04. "Lullaby to Tim" Nash 3:04
05. "Have You Ever Loved Somebody?" Clarke 3:04
06. "You Need Love" Clarke and Nash 2:32
07. "Rain on the Window" Clarke 3:16
08. "Heading for a Fall" Clarke 2:23
09. "Ye Olde Toffee Shoppe" Nash and Clarke 2:22
10. "When Your Light's Turned On" Clarke and Nash 2:37
11. "Leave Me" Clarke and Nash 2:30
12. "The Games We Play" Clarke and Nash 2:46
+ Alot of Bonus
1.
https://rapidshare.com/files/3945864311/The_Hollies.rar
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http://uploadmirrors.com/download/X3BJPHKC/The_Hollies.rar
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Size: 84.6 MB
Bitrate: 256
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Artwork Included
Source: Japan 24-Bit Remaster
On his second album Heat Treatment, Graham Parker essentially offered more of the same thing that made Howlin' Wind such a bracing listen. However, his songwriting wasn't as consistent, with only a handful of songs -- like "Pourin' It All Out" and the title track -- making much of an impression. Unfortunately, the record was also tamed by the production of Mutt Lange, who polishes the record just enough to make the Rumour sound restrained. Which means, of course, the sheer musicality of the band can't save the lesser material. Heat Treatment remains an enjoyable listen -- at this stage of the game, Parker hadn't soured into a curmudgeon, and his weaker songs were still endearing -- but it's a disappointment in light of its predecessor.
Biography:
Stereotyped early in his career as the quintessential angry young man, Graham Parker was one of the most successful singer/songwriters to emerge from England's pub rock scene of the early '70s. Drawing heavily from Van Morrison and the Rolling Stones, Parker developed a sinewy fusion of driving rock & roll and confessional folk-rock, highlighted by his indignant passion, biting sarcasm, and bristling anger. At the outset of his career, his albums crackled with pub rock energy, snide witticisms, and gentle insights, earning him a devoted following of fans and critics, who lavished praise on his debut, Howlin' Wind. Despite all of the positive word of mouth, Parker never managed to become a star, and he was soon overshadowed by the emergence of Elvis Costello, a singer/songwriter who shared similar roots. After delivering Squeezing Out Sparks in 1979, Parker attempted to make a few crossover albums before settling into a cult following in the late '80s, continuing to garner critical acclaim.
After spending much of his early adulthood working odd jobs, ranging from breeding mice and guinea pigs to working at a gas station, Parker began seriously pursuing a musical career in 1975. Until that time, he had played in a number of obscure pub rock groups, including a cover band that had spent time playing in Morocco and Gibraltar. But it wasn't until 1975 that he began shopping his demos. That year, Dave Robinson, one of the co-founders of the new independent label Stiff, heard one of Parker's demo tapes and encouraged the songwriter, helping him assemble a backing band called the Rumour. Robinson rounded up several stars of the pub rock scene -- guitarist Brinsley Schwarz and keyboardist Bob Andrews, both formerly of the leading pub rockers Brinsley Schwarz, former Ducks Deluxe guitarist Martin Belmont, former Bontemps Roulez drummer Steve Goulding, and bassist Andrew Bodnar -- to form the Rumour, and the band was soon supporting Parker on the dying pub rock scene. With the assistance of DJ Charlie Gillett, the group landed a record contract with Mercury by the end of 1975.
Graham Parker & the Rumour headed into the studio to cut their debut album with producer Nick Lowe, who gave the resulting record, Howlin' Wind, an appealingly ragged edge. Howlin' Wind was greeted with enthusiastic reviews upon its summer release, as was the similar Heat Treatment, which followed in the fall. Despite the positive press, Parker was growing frustrated with Mercury, believing that the company was not properly promoting and distributing his records. His third album, Stick to Me, had to be re-recorded quickly after the original tapes were discovered to be defective prior to its scheduled release. As a result, Stick to Me received mixed reviews upon its fall 1977 release, which derailed Parker's momentum slightly. Furthermore, Elvis Costello, a fellow pub rock survivor who possessed not only a more pop-oriented style of songwriting, but also a more dangerous persona, soon eclipsed Parker in popularity. Frustrated by his career hitting a standstill, Parker released the live-double album The Parkerilla in the summer of 1978 in order to get out of his contract. Following a short but intense bidding war, he quickly signed to Arista Records, where he released "Mercury Poisoning" -- a blistering attack on his former record label -- as the B-side of a promotional single as his first record for the label.
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Size: 131 MB
Bitrate: 256
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Source: Japan 24-Bit Remaster
Biography: (a very long. one)
In 1966 the cosmopolitan port town of Yokohama proved the perfect breeding ground for the new Group Sounds. Just as in Liverpool and Hamburg, the local kids were exposed to a wealth of foreign culture not readily available to the typical Japanese teen. The FEN (Far East Network) broadcast out of the nearby U.S. Army base, bringing the newest Western sounds to the locals. The base PX stocked the latest hip imported discs, which Japanese record stores seldom carried, and domestic pressings of which were often delayed many months. Kids with friends from the base got to watch shows like American Bandstand, while the chances of their less-fortunate peers catching British or American bands on Japanese TV shows was next to nil. Yokohama had it's own exotic culture, and it was there that, in December, the Golden Cups were born.
At this time the Cup's vocalist and founder Dave Hirao was already a rock'n'roll veteran, having played earlier with the Sphinx. But it was his visit to the States in ’65 that made him an eager convert to the new beat style - the bands he saw there left him stunned! The other members of the band were no less ready to switch to the GS sound. Eddy Ban (lead guitar & vocals) made it to the U.S. in '65 as well, and returned with an odd device called a fuzz box, perhaps the first to arrive in Japan. (Eddy later lent it to a fellow GS guitarist who had a Japanese instrument manufacturer duplicate it; this company was soon selling its knock-off throughout the country!).
Kenneth Ito (guitar, vocals) had a special affinity for the West, having grown up in Hawaii. He owned the first Fender guitar to reach Japan (imported instruments being prohibitively expensive back then); a Telecaster like his heroes Mike Bloomfield used.He also used Gibson SG. With Kenneth on board the Cups didn't have to struggle with English like the other GS outfits. The group was rounded out by Ruiseruis Kabe*1 (who'd previously played with Kenneth in Take Five) on bass, and Mamoru Manu (drums, vocals).
Initially using the name Group and I,” they became the house band at the Golden Cup discotheque near the Honmoku army base. Their clientele was made up mainly of GI's, and their set list entirely of covers: "One More Time"(Them), "Evil Woman"(Canned Heat), "Gloria","Stroll On","I Got My Mojo Workin'" (their opening tune), "I Feel Good" (James Brown), "Work Song"(Paul Butterfield Blues Band), etc. Sadly no recorded document of this period survives.
The group was fortunate to land a TV gig the very month it formed! "Young 720" was a teen-oriented weekday morning program (starting at 7:20am – hence its name) that often featured live GS bands. The Cups'gained some important national exposure through the show, and the teenagers of Japan discovered a cool new band! (This performance too seems to have been lost, but if you know otherwise, get in touch!).
From the beginning, the Golden Cups set themselves apart from the other GS bands. In 1967 most groups wore uniforms on stage, seemingly chosen at random. For example, the Dynamites felt it necessary to dress like bellhops, while the Cougars paraded around in Scottish kilts! The Cups, meanwhile, wore only the latest imported mod threads, as if to say "Those other bands rely on gimmicks, but the Golden Cups are for real."
It wasn’t just the Cups' image that set them apart, as became apparent with the June ’67 release of their first single, "Jezabel" (hear the flip side, "Hiwa Mata Noboru,"on the Big Lizard Stomp compilation). The Cups’ guitar playing amazed their less-able competitors, and the band soon built a reputation as the most technically proficient GS outfit.
This reputation was cemented with their sophomore release, the incredible "Giniro no Glass" ("Love is my Life" on ESD Pebbles), in November. This song gave Kabe, who"d handled lead guitar in the Take Five, the chance to turn lose with some astounding bass runs. "When I played bass, I didn’t have to think about it," he recalled later. Considering the amount of practice the Cups were getting, this isn't surprising: "We were very busy. One day we did ten 45 minute shows in a row, and then got to the studio around midnight to record." They actually preferred to record late at night, as it gave them more time to work; there were very few studios available in the 60's, so bands were typically given only one or two hours to finish each number.
1967 also saw the Cups hit the road, if only for a short distance, for an important stand at la Seine, a popular *2Jazz Kissa (or Jazz Tea Room) in Tokyo. The band had something of a split personality live, depending on where they were playing. If they were at a club or Jazz Kissa, they'd play their fave tunes and put on a wild show; but if they were giving a "recital" at a large concert hall, they were forced to perform their dull commercial material, often with an orchestra for accompaniment.
The Golden Cups Album made its appearance in March 1968, a diverse collection of originals and covers. While it has its share of killer tunes, the album reflects the disagreements the band was having with Capitol Records regarding musical direction. Left to their own devices the Cups liked to play R&B tunes like "I Feel Good" or "Got My Mojo Working," while "Giniro no Glass"and their other originals were exercises in fuzzed-out punk mayhem! "Hey Joe" is an example of the real Golden Cups sound at its finest. The slow Jimi Hendrix version made the song famous in Japan, so the many GS groups who recorded it copied this style – but not the Cups! Their "Hey Joe"is based on the garage versions recorded by bands like Love or the Leaves, but with a wild, extended psychedelic freak-out in the middle. It's hard to believe this is the band that recorded sappy, orchestrated ballads like "Jezabel" or "Unchained Melody" on the same album at their management's behest.
The group's next single hit the stores one month later, and for two very different reasons proved the high water mark of the Golden Cups'career. The plug side was another lame ballad, "Nagai Kami no Shoujo" ("A Girl With Long Hair"), a product of professional songwriters that their management insisted they record. The Cups naturally hated the song, and refused to play it live, though they did do some promotional TV spots for it. There was even a "Girl With Long Hair" contest, in which thousands of teenagers enthusiastically participated. As an unkind fate would have it, the song was just about the biggest hit the Cups would have, reaching #14 on the Japanese pop charts!
1.
https://rapidshare.com/files/674087044/Golden_Cups.rar
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http://uploadmirrors.com/download/MLIR3THI/Golden_Cups.rar
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Size: 91.2 MB
Bitrate: 256
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Artwork Included
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Asterix was a close predecessor of Lucifer's Friend, and released a self-tittled album in 1970.
Asterix was a direct predecessor of Lucifer's Friend; released one (eponymous) album in 1970. Technically, this was the first Lucifer's Friend album, only under a different name. Also, one single was released featuring a slightly altered line-up, without John's involvement.
Peter Hesslein began his musical career way back in 1963 with a band called the Giants. Peter Hecht and Dieter Horns were both members of a group known as the German Bonds, from 1965 onwards. Peter Hesslein joined the Bonds in 1968 which survived until 1970. At this point the various members took up the study of graphic design in an attempt to forge more sensible careers.
But the call of rock’n’roll was too strong and in late 1970, the ex-Bonds men, together with Joachim Reitenbach , decided to record a new album. They needed a lead singer and eventually found John Lawton who had been with the group Stonewall.
The new band took the name Lucifer's Friend and released their first album 'Asterix' in 1970. Their first three albums were undeniably influenced by contemporary British bands such as Uriah Heep and Deep Purple. 'Lucifer's Friend' was released on the Phillips label in January 1971 followed by 'Where The Groupies Killed The Blues' (1972). Lucifer's Friend' was given rave reviews particularly in America where the Chicago Express compared them to Led Zeppelin.
This encouraged the five-piece to commence a heavy touring schedule, a policy which later backfired. Gradually their music had become a shade more sophisticated and serious jazz and symphonic influences were detected by critics and fans. This was no doubt due to the increasing importance of 'progressive rock' which seemed to appeal to college students and university audiences rather more than good old heavy metal. It was also more interesting for musicians to play and presented them with new challenges.
It is also a fact that the members of "Lucifer’s Friend" recorded two other albums under the name of "Pink Mice" on the German budget label Europa. The band play classical themes on these albums in the style of the Dutch band "Ekseption". John Lawton was on these albums but was limited to backing vocals. It is also common knowledge that Hesslein and Hecht also worked for years with "The James Last Orchestra" and that John Lawton sang with "The Les Humphries Singers" when he was not recording with Lucifer’s Friend.
01.Everybody (Bonus Sigle) 3:04
02.If I Could Fly (Bonus Single) 3:02
03.Look Out 3:09
04.Gone From My Life 3:31
05.Broken Home 4:26
06.Time Again 3:09
07.Jump Into My Action 3:29
08.Open Up Your Mind 3:17
09.Corner Street Girl 4:07
10.Change In You 4:09
11.Morning At My Dawn 6:54
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https://rapidshare.com/files/2928851517/Asterix.rar
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Size: 85.3 MB
Bitrate: 256
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...To Be Continued is a studio album by American soul musician Isaac Hayes, issued in 1970 on Stax Records' Enterprise label. The LP includes Hayes' cover of the Burt Bacharach/Hal David composition "The Look of Love", which was issued as a single in an edited form, peaking at #79 on the Billboard Hot 100.[1] Hayes had covered Bacharach/David songs on his previous albums Hot Buttered Soul ("Walk On By") and The Isaac Hayes Movement ("I Just Don't Know What to Do With Myself").
Released in late 1970 on the heels of two chart-topping albums, Hot Buttered Soul (1969) and The Isaac Hayes Movement (also 1970), Isaac Hayes and the Bar-Kays retain their successful approach on those landmark albums for To Be Continued, another number one album. Again, the album features four songs that span far beyond traditional radio-friendly length, featuring important mood-establishing instrumental segments just as emotive and striking as Hayes' crooning. Nothing here is quite as perfect as "Walk on By," and the album feels a bit churned out, but To Be Continued no doubt has its share of highlights, the most notable being "You've Lost That Lovin' Feelin'." The album's most epic moment opens with light strings and horns, vamping poetically for several minutes before Hayes even utters a breath; then, once the singer delivers the song's orchestral chorus, the album hits its sentimental peak -- Hayes elevating a common standard to heavenly heights once again.
Elsewhere, "Our Day Will Come" features a nice concluding instrumental segment driven by a proto-hip-hop beat that proves just how ahead of his time Hayes was during his early-'70s cycle of Enterprise albums. It's tempting to slight this album when holding it up against Hayes' best albums from this same era, but a comparison such as this is unfair. Even if Ike isn't doing anything here that he didn't do on his two preceding albums -- Hot Buttered Soul, The Isaac Hayes Movement -- and isn't quite as daring as he is on his two successive albums -- Black Moses, Shaft -- To Be Continued still topples any Hayes album that came after 1971. It didn't top the R&B album chart for 11 weeks on accident -- this is quintessential early-'70s Isaac Hayes, and that alone makes it a classic soul album.
The ...To Be Continued album as a whole peaked at #1 on the Billboard Black Albums and Jazz Albums charts, and at #11 on the Billboard 200.
01. "Ike's Rap I" (Isaac Hayes) 3:59
02. "Our Day Will Come" (Bob Hilliard, Mort Garson) 5:27
03. "The Look of Love" (Burt Bacharach, Hal David) 11:13
04. "Medley: Ike's Mood I/You've Lost That Lovin' Feelin'" (Hayes/Phil Spector, Barry Mann, Cynthia Weil) 15:33
05. "Runnin' Out of Fools" (Kay Rogers, Richard Ahlert) 5:52
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https://rapidshare.com/files/1182162792/Isaac_Hayes_Continued.rar
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http://uploadmirrors.com/download/0GWCIBDP/Isaac_Hayes_Continued.rar
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Come on and give me a wink about the albums you download, like em or not (?), love to read your comments!!
//ChrisGoesRock
Size: 94.2 MB
Bitrate: 256
mp3
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Hot Buttered Soul was Isaac Hayes' second studio album. Released in 1969, it is recognized as a landmark in soul music.
The album almost never came to be. Hayes' solo debut, Presenting Isaac Hayes, had been a poor seller for Stax Records, and Hayes was about to return to his behind-the-scenes role as a producer and songwriter at the venerable soul label when it suddenly lost its complete back catalog after splitting with Atlantic Records in May 1968. Stax executive Al Bell decided to release a new, almost instant, back catalog of 27 albums and 30 singles at once, ordered all of Stax's artists to record new material, and encouraged some of Stax's prominent creative staff, including Hayes and Steve Cropper, to record solo albums.
Burned by the retail flop of Presenting Isaac Hayes, Hayes told Bell that he would not cut a follow-up unless he was granted complete creative control. Since Bell had encouraged Hayes to record Presenting... in the first place, he readily agreed.
The album begins with a cover of the Burt Bacharach and Hal David classic, "Walk On By". Second was "Hyperbolicsyllabicsesquedalymistic", an uptempo funk song with wah-wah guitar and rolling pianos. "One Woman", at just over five minutes the shortest track on the album, focuses on the pangs of infidelity. An extended reinterpretation of Jimmy Webb's country music composition "By the Time I Get to Phoenix" closes the album. After an eight-minute spoken introduction, the song slowly builds to a climax of horns, strings, organs and vocals. (On most commonly heard versions of this song, there is an edit before the lyric "when he reached the age of maturity.." during the spoken intro – early vinyl pressings of the album do not feature this edit, and reveal a brief section that includes a technical error, where the sustained organ note briefly drops out.)
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https://rapidshare.com/files/2061131689/Isaac_Hayes.rar
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http://uploadmirrors.com/download/OTQFOWGI/Isaac_Hayes.rar
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