*Also Re-Issued on CD & LP (Vadim/Neuilly Rec., LP 180-gram)
''Bali Girl''
Reviews: Jungle obsession The finest in psychedelic afro jazz and groove exotica ! Similar to the legendary Stringtronics's album considering the work on the strings, and Cecil Leuter's Pop Electronique considering the heavy rhythm, this LP offers a brilliant distinction in the use of a magnificent flute, crazy afro latin percussions, guitar beat or funky wah wah, and sometimes delirious moog. The result is just amazing and gives us lots of nice samples and beats ! Released in 1971, under the blanket of library music anonymity, "Jungle Obsession" is one of those rare and precious records whose extraordinary personality is instantly recognised by the ear of the listener. Timeless.luminous. Its high time one of the greatest instrumental records of the 70s was rediscovered. A demanding effort, unfaltering coherent, bordering somewhere along solar exoticism and primitive psychedelics and entirely focused upon the beauty and mysteries of Kiplings Jungle Book in its hunt for a fascinating artistic El Dorado. Leading this musical expedition, we find two of library musicsgreats, the amazing Roger Roger (1911-1995) and Nino Nardini (1912-1994). These outstanding conductors, with already substantial careers behind them, also take the role of mad scientists in the legendary Ganaro Studio, the marvellous Jouy-en- Josas-based lab at the heart of which the two magicians have attempted some of the most wonderful musical experiences ever carried out in France. Going beyond dominant current music styles, they blend genres and dare unprecedented mixes with obvious success. "Jungle Obsession" is the undeniable proof, vibrating willingly to an audacious and minimal orchestration that highlights percussion, whilst a forest of luxurious chords wreathe through savage guitars assaults and an electronic sounding backdrop. Intoxicated by these subtle melodies, these feline rhythms and flagrant poetry, all that is left for us to do is to succumb to losing ourselves definitively in the heart of this savage, fantasy land which gives its most wonderful patents to this spicy and bewitching branch we call exotica.
''Jungle Obssession''
By Thom Jurek (AMG): This piece of musical exotica is truly a classic of the genre. It was written, produced, and conducted by two bright, underappreciated French composers (Nardini is of Italian descent but was born in Paris) whose only idea for collaboration was a commission by a society of sound professionals for something unified and "exotic." What could be more exotic than the jungle itself? This pair set out to create a work for a sound library recording (not to be sold commercially) that evoked the sights, sounds, smells, and textures of the jungle. Released in 1971, the disc quickly entered the dead-dog files of cultural miscegenation and has remained there ever since. Forget Martin Denny, Les Baxter, and Dick Hyman too for a moment. Certainly those men were all into this before, and no doubt influenced Jungle Obsession's composers. But whereas the music and arrangements of Denny and Baxter all derived from simple themes -- easily recognized by Western audiences as a way in -- these two cats threw all that out the window and created a series of motifs, leitmotifs, and modes that were out of the musical sphere at the time. They took rock and classical and bossa and jazz and easy listening, wove them together with polyrhythmic invention and a boatload of sound effects, and created one of the true masterpieces of pop exotica: musically sophisticated, sensually lush, and technically innovative. There is no record quite like this one, and any fan of so-called lounge music or exotica should own this. For those fans of hep sounds and po-mo kitsch, you should have it too, but for those interested in the finest sounds the '70s had to offer, this is a necessity.
Nino Nardini
Biography: Real Name: Georges Achille Teperino Profile: Georges Achille Teperino alias Nino Nardini (1912-1994), was born in Paris of an Italian father and a French mother. Born in a family of musicians, he started his early career at the age of seven, directing a philharmonic orchestra. His father,a famous violinist and composer, was his main teacher. After second world war ended,he began his public apparitions and he dedicated his personal conductor and composer taste to the Spanish and Mexican ethnic and folk-related and percussive music, and along with a bunch of former dependable session club musicians he formed the "Nino Nardini Orchestra" since 1951, when he participated and accompanied with this ensemble "La Chansons de Paris"program at the Theatre Des Champs Elysees. Then he had many live turbulent late evening shows at the famous "Circus 58" in France, shifting and specializing his original music versus much popular and suitable for dancing form: paso doble,fox trot,calypso,rock and tango. He directed orchestras of Radio Luxembourg, Radio Circus and Radio Theatre in Paris and took conductor duties even in one itinerant circus, learning all the trickery and particular instruments applied to fun gags arranging songs for the comic jokes spectacles. At the very beginning of the Sixties he entered slowly the new born world of Music Library in France, Europe and Uk, recording mostly avant-jazz and bop blues and drama scores,using preminently uncommon instruments like Harpsichord, Marimba or Electric organ,just like his old childohood friend Roger Roger was doing around the same time. This parallel carrer and strong friendship led the two to one overgrowing real musical-partnership, with a costant rate that took the two to finally build up the Studio Ganaro, a personal recording space where they started to work together on composing many kind of music and then heavily experimenting, before many others, on the moog synthesizer. In particular,Teperino was heavily oriented to innovative experiments with musique-concrete blended with common instruments. With their first experimental electronic autoproduced TVMusic 101 vinyl, issued in 1969,they fairly attracted the Chappel Music Label representant in France interest and got both under contract for further recording releases. All the years belonging to the Seventies saw Nardini and Roger highly fusing their musical approach for Illustrative Music for TV and Radio,according to a common job where they where working on same tracks and adding or enhancing what the other may have missed, finally producing some of the most respectable modern Library music, in many cases overcoming the pure background effect of it, and finally delivering what may be now called Modern Easy Electronic music. The talents of Teperino and Roger where so unique and particularly mind wide, and they where totally free to produce and arrange with Neuilly and then Crea Sound label chief-in-charge Louis Delacour, preminent figure in their carrer and long time friend, during all the seventies until mid eighties,with the result of producing more than 40 records. The special kind of efforts Teperino and Roger put on modelling same composed music was so specially blended together that actually a proof is given by the online French Sacem Music Publishing catalogue (sacem.fr), who shows how both names are on most of total singular songs of these authors, comprising their pseudonims used along the years for different contractual reasons with different publishers. Despite the duo was a strong couple,worldwide and French conoisseurs,who became more and more appassionate of their music,are capable of differentiate the ingredients in their ouvres, finally recognizing to Teperino the more far out visionnaire and feerique landmark. Is said that we owe him the "Canaveral Cap" theme,used for the launching the Apollo II on July 5, 1966. From Discogs
Singer, keyboardist, producer, songwriter and actor. Born: 20 August 1942 in Covington, Tennessee. Died: 10 August 2008 in his Tennessee home.
Mr.Hayes' Biography:
Prologue: In the spring 2003, one year after his induction into the Rock and Roll Hall Of Fame and a celebrated move back home to Memphis, the public persona of Isaac Hayes is surging forward with a momentum usually associated with teen popstars and visiting royalty. In fact, Hayes is resident royalty for more than a decade, a coronated King of the Ada coastal district of Ghana in western Africa where he is a member of the Royal Family. Instead of a palace, he built an 8,000 square foot educational facility through his Isaac Hayes Foundation (IHF). He is most certainly the only King on earth with an Oscar, Grammy awards, #1 gold records, his voice on an animated tv series, a radio show, two restaurants, a best-selling cookbook, and top secret barbecue sauces. In Memphis, his five-hour nightly radio shift on WRBO Soul Classics 103.5 FM is still the #1-rated show in town in its third year on the air. The city has taken to a new slogan: "Memphis: Home of the Blues, Birthplace Of Rock 'n Roll," underscored by the Smithsonian's Memphis Rock 'n Soul Museum just off Beale Street, the institution's first permanent exhibition outside Washington, DC, and New York. On May 2nd, Hayes presided over the opening day ceremonies of Soulsville, the Stax Museum of American Soul Music, a $20 million redevelopment project. It is located at a legendary address, 926 East McLemore Avenue, the revitalized original site of the record company where Hayes got his start in 1962. He has also been an integral fundraiser (and consciousness raiser) on behalf of the Stax Music Academy next door, a facility where he and others will develop and teach future Memphis musicians. Back on 'RBO, you're likely to hear a number from one of the stars of Only The Strong Survive (Miramax), which premiered on May 9th, D.A. Pennebaker's documentary film tribute to Hayes and his contemporaries including Sam Moore (of Sam & Dave), Rufus & Carla Thomas, Jerry Butler, William Bell, Wilson Pickett, and others. Stay tuned and you might hear a track from Isaac Hayes At Wattstax (Stax/Fantasy), an hour-long CD of unreleased music from 1972's historic concert movie event. The new CD was issued in April in advance of the 30th anniversary restoration of the film which opened on June 6th, Wattstax - The Special Edition (Sony Pictures Repertory). It was just three years ago when the new Shaft movie soundtrack was released, featuring Hayes' "Shaft 2000" theme, on the eve of the 30th anniversary of the granddaddy of Blaxploitation films. Not far away from the radio station, over in the Peabody Place Entertainment Center a block from Beale Street, Hayes holds forth on a regular basis in the centrally located 'Owners Booth' of his acclaimed restaurant, Isaac Hayes Music-Food-Passion (a partnership with Lifestyles of Memphis). He often performs with whoever's on the bandstand there, or at the sister restaurant of the same name up in Chicago, which is located on North Clark Street in the trendy River North section. The best in live music, real home style cooking (barbeque ribs shipped overnight anywhere in the country!), lots of Isaac Hayes memorabilia to catch the eye, and select drop-ins and performances by Hayes and many of his celebrity friends have made the restaurants wildly popular. Doors away from both restaurants is a busy Isaac Hayes Cooks & Wares store, where you can pick up Ms. Pearlie Biles' latest sauce creations, or the double-boiler needed to prepare a batch of Chocolate Salty Balls at home, according to the recipe in Cooking With Heart & Soul: Making Music in the Kitchen with Family and Friends. The autobiographical cookbook, published by Penguin-Putnam and now in its third printing, is a treasury of personal memoirs and recipes, not just the author's favorites but also others from such friends as John Travolta (Hamburger Royale With Cheese), Lisa Marie Presley (Banana Pudding), Wesley Snipes (Rum-Glazed Cornish Hens With Apple-Sourdough Stuffing) - and Chef, the irrepressible ladies man, dispenser of wisdom, and voice of mischief and higher learning on South Park. 2003 is the seventh season on cable tv's Comedy Central that Chef is cooking up scheme after scheme on South Park. He is the perfect alter ego for Hayes and provided him with a solid #1 single in England back in '98, when "Chocolate Salty Balls (P.S. I Love You)" became the flagship hit for Chef Aid: The South Park Album (Columbia). Since then, Hayes has established himself as the familiar voice of Nickelodeon's "Nick At Nite" program block. At the same time, 2002 marked his sixth and final year on New York's KISS-FM in the morning, the city's top-rated Urban radio show since '96 - the same year Hayes contributed "Two Cool Guys" to the Beavis and Butt-Head Do America movie soundtrack. If anyone knows a thing or two about bridging both sides of the generation gap, it is Isaac Hayes.
''Use Me'' (From 'Hotbed'' Album)
Soulsville:
Isaac Hayes was born in the rural poverty of a sharecropper's family on August 20, 1942, in Covington, Tennessee, about thirty miles south of Memphis. Orphaned in infancy, he and his sister Willette were raised up by their maternal grandparents, Willie and Rushia Addie-Mae Wade. They instilled love in Hayes for the simple pleasures of country life. "We raised our own foods," he says, "we raised most of our crops, we had cattle, we had pork. Our corn was ground at the grist mill and we had molasses at the sorghum mill. A sack of flour would last several months. My grandmother did a lot of canning, preparing food and putting it up in the winter. My grandfather would go hunting and bring in a bunch of rabbits, so we were good. When we came to the city of Memphis, we didn't have anything to compare it to." Memphis was supposed to represent new opportunity, and it did for awhile, as the 7-year old saw his first supermarket and enjoyed his first Popsicle, and grandfather found work at a tomato factory. But soon his health failed, he became disabled, and when Hayes was 11, his grandfather died. "That's when we really fell on hard times," Hayes remembers, "when I started doing the agricultural work like picking cotton." Ironically, his stately home today in East Memphis looks out on those same fields where cotton grew for nearly two centuries. As a youngster he ran errands, cut lawns, delivered groceries and wood to homes for fuel, cleaned bricks for two cents apiece, and shined shoes on Beale Street. Later on, working as a bus boy and dishwasher at a restaurant, "one day it was kinda slow and I told the cook, 'I been watching you, lemme do a hotdog.' And he said, 'ok, come on do it,' so I prepared an artful hot dog, stuck it up in the window, tapped the bell and stepped back, watched the waitress deliver it, the guy ate it, and it was cool. I started doing some catfish, some hamburger steak, and the guy loved it. I eventually began doing a little short order cook stuff." To an adolescent, the poverty was stifling; combined with the self-consciousness brought on by puberty, believing he wasn't dressed sharp enough to attract the girls, Hayes secretly dropped out of Manassas High School. After six weeks, a delegation of teachers arrived at the house and told his grandmother the news. "God, I felt like I had gone through the floor, but they said, 'This young man has too much to offer, we cannot afford to lose him.'" The teachers gathered their hand-me-down clothes for Hayes, who resolved to stick it out and get his diploma. The experience left an indelible mark on him for life, and Hayes' dedication to literacy, education and teaching initiatives is an outgrowth of what those teachers did for him. Years later, when the State Of Tennessee honored him with a marker, Hayes chose to place it at Manassas High. Hayes sang in church since age five, but stopped when his voice cracked in adolescence. Years later, "when I started back singing, my voice was in the basement." He was persuaded by his high school guidance counselor to enter a talent show, singing "Looking Back," Nat King Cole's 1958 hit. "When I finished, the house was on its feet, man, and I was a hit." Overnight the girls, even those a couple of grades ahead, were sending lunch invitations. "Career change! So I started pursuing music big time." He joined the school band and learned to play saxophone from Lucian Coleman (brother of hard-bopper George Coleman). Hayes sang gospel with a group called the Morning Stars, doo-wop with Sir Isaac & the Doo-Dads, the Teen Tones, and the Ambassadors, even some jazz with the Ben Branch house band at Curry's Club Tropicana out in north Memphis. He started playing sax and singing blues with Calvin Valentine and The Swing Cats, and doing prom dates with The Missiles. He took a crash course learning piano by literally faking it for the first time on a New Year's Eve R&B job at the Southern Club with Jeb Stuart, "because I needed the money."
Stax: Hayes was finally graduated at age 21 from Manassas, Class of 1962. It was the year after the first releases began to trickle out of a new label called Stax Records, part of the Satellite Records company and Satellite Record Store that started back in '58, housed in the old Capitol Theatre on the corner of College & McLemore. Hayes had won seven college scholarships for vocal music that he chose not to pursue. Instead, he became adept enough at the piano to land a job with baritone saxophonist bandleader Floyd Newman at the Plantation Inn across the river in West Arkansas. Newman was also the staff baritone musician on Stax recording sessions and was up for a date himself with his own working group in late 1963: "Frog Stomp," the only solo single ever cut by Newman, was co-written by and features Hayes (on piano), the first major notch in his discography at Stax Records. "During the time that I was there," Hayes recalls of the session, " Jim Stewart, the proprietor of Stax looked at me and said, 'Look, Booker T is off in Indiana U., from Booker T & the MG's, and I need a keyboard player so you want the job?' 'Yeaaa!' I jumped at it." His first paid sessions were with Otis Redding in early 1964, and Hayes was soon a ubiquitous presence at Stax. Not long after, co-writer and producer David Porter suggested to Hayes that they collaborate as songwriters. After a few modest starts for Porter ("Can't See You When I Want To"), Carla Thomas "How Do You Quit [Someone You Love]"), and Sam & Dave ("I Take What I Want"), "everything just blew up big time," Hayes says. As writers (under the name 'Soul Children'), arrangers and producers, the Hayes-Porter duo became Stax's hottest commodity starting in 1966-67. Sam & Dave's "You Don't Know Like I Know," "Hold On! I'm Comin'," "Said I Wasn't Gonna Tell Nobody," "When Something Is Wrong With My Baby," "I Thank You," "Wrap It Up," and the R&B Grammy award-winning "Soul Man" were among some 200 Hayes-Porter compositions that became standards. For Carla Thomas there was "Let Me Be Good To You," "B-A-B-Y" and "Something Good (Is Going To Happen To You)." Johnnie Taylor scored with "I Had a Dream" and "I Got To Love Somebody's Baby." Mable John's one and only hit was Hayes-Porter's "Your Good Thing (Is About To End)." Presenting Isaac Hayes, his debut solo LP was recorded as a trio (with MG's bassist Duck Dunn and drummer Al Jackson) in the wee hours after an all-night Stax party. The intimate, sensual jazz-flavored jam session approach (including three 9-minute versions of standards) did not reach the charts, but served as a blueprint for future LPs. Hayes' work with Sam & Dave, Otis Redding, Booker T & the MG's, the Mar-Keys, the Bar-Kays, Rufus & Carla Thomas, and virtually the entire Stax roster created what was known as the Memphis Sound. It transformed popular music, was absorbed by everyone from Elvis Presley and Ray Charles to the Beatles and the Rolling Stones. History notes that, with the exception of Booker T & the MG's, Isaac Hayes worked on more Stax sessions and tracks than any other musician. On April 4, 1968, as Stax Records was finalizing its sale to Gulf & Western Corporation, the Rev. Dr. Martin Luther King Jr., was assassinated at the Lorraine Hotel in downtown Memphis. Hayes, who had marched for Civil Rights with King, was scheduled to meet with him that very day. "It affected me for a whole year," Hayes told Rob Bowman in Soulsville U.S.A.: The Story Of Stax Records. "I could not create properly. I was so bitter and so angry. I thought, What can I do? Well, I can't do a thing about it so let me become successful and powerful enough where I can have a voice to make a difference. So I went back to work and started writing again."
Enterprise:
He emerged in the summer 1969 with the landmark Hot Buttered Soul, and the career of Isaac Hayes would never be the same again. The LP was uniquely composed of four lush, sensual arrangements, framed by the opening 12-minute version of "Walk On By" and the closing 18-minute take on "By the Time I Get To Phoenix." Both were edited into a double-A sided single, and both sides became top 40/R&B crossover hits. #1 on the Billboard R&B chart for 10 weeks, the LP stayed on the Pop chart for an amazing 81 weeks. It forced the music industry, for the first time, to conceive of Soul music as an album art form. In a new emerging age of Afro-centrism and Black Power, devoting the entire LP cover to Hayes' shaven head was a revolutionary statement. Hot Buttered Soul was issued on the new Stax subsidiary label Enterprise (yes, named for the "Star Trek" spaceship) for whom Hayes would record for the next five years, and deliver a record-setting seven #1 R&B albums - more #1's than any artist of the period. In fact, Hayes charted a phenomenal 20 albums on the R&B and Pop charts between 1969 and '80 - not a week went by in the early '70s without two Isaac Hayes albums on the charts, and sometimes three. There can be no overstating his impact on popular music, reflected in his first ballot vote into the Rock And Roll Hall Of Fame. A pair of albums in 1970 reprised the format of the tightly-arranged extended versions of original material and reworked standards - The Isaac Hayes Movement (7 weeks at #1, with "I Stand Accused") and ...To Be Continued (11 weeks at #1, with the original version of "Ike's Rap," a decade before Sugar Hill Gang's "Rapper's Delight"!) By now, the silky smooth romantic rap soliloquies had become a Hayes trademark. The arrival of the Shaft movie, soundtrack double-LP, and theme-song single in the summer 1971 was a career-defining event - the image of Isaac Hayes loomed at least as large as the film's star Richard Roundtree or director Gordon Parks, and all three embodied a new era of Black empowerment. Shaft was the first album in history by a solo black artist to hit #1 on both the Pop and R&B chart (14 weeks, making it the #3 R&B album of the entire decade of the '70s). At the Academy Awards the following year, Hayes became the first African-American composer to win the Oscar for Best Musical Score. In addition to generating three Grammy awards, the music from Shaft won a Golden Globe award, the NAACP Image Award, and the prestigious Edison award, Europe's highest music honor. Again, Hayes had set a high musical standard whose gritty, staccato voicings would echo in movie and television soundtracks for decades to come. He was quickly assigned to score the 1972 television series "The Men" (starring Robert Conrad), whose theme became a Pop/R&B hit. The summer 1974 would see the release of his next two movie soundtrack albums, Tough Guys (from the movie Three Tough Guys, Hayes' first co-starring movie role as a macho character), and Truck Turner (in which Hayes starred in the title role of a tough guy again). A third film role offered a comedy turn in 1975, It Seemed Like A Good Idea At The Time (with John Candy). Meanwhile, Shaft's success (it charted for 16 months) earned Hayes a second double-LP in 1971: Black Moses (#1 for 7 weeks, with "Never Can Say Goodbye"), whose nickname reluctantly stuck with him for years afterward. A long spell of touring throughout Europe and the U.S. in 1972 (including the WattStax Festival in August) introduced many audiences to Hayes for the first time, an imposing figure in his shades and gold chains. It was Isaac Hayes who turned chains - once symbols of slavery and degradation - into ornaments, a decade before Mr. T. and decades before the arrival of bling-bling. The live show was captured on his third consecutive double-LP, which arrived in '73: Live At the Sahara Tahoe (#1 for 2 weeks). Later that year came the album Joy; aside from its title tune, an R&B/Pop crossover hit, it included "I Love You That's All," which became a sampler's delight for everyone from TLC and Massive Attack, to Eric B. & Rakim and Big Daddy Kane. In the last decade or so, Hayes' work has gone on to be sampled nearly 200 times (officially, that is), on recordings by (among others) Dr. Dre, Snoop Dogg, DJ Quik, Ice Cube, Destiny's Child, Tricky, Mase. Portishead, Yo-To, and the late TuPac Shakur and Notorious B.I.G.
''Hung Up On My Baby'' ( From ''Tough Guys'' OST) Also used on Q.Tarantino's ''Kill Bill'' OST
A New Era:
By the time his two 1974 soundtracks LPs (Tough Guys and Truck Turner) were issued by Stax/Enterprise, relations with the label and business disagreements had deteriorated to the point where Hayes severed his ties. That same year, he made his TV debut in a recurring role on "The Rockford Files" as Gandolph Fitch, aka Rockfish. In 1975, Hayes launched his own new record label: HBS, or Hot Buttered Soul (via ABC Records). His first new album, Chocolate Chip (#1 for 7 weeks, with its title track R&B hit), showed him adapting to the disco era, but with his musical identity intact. Hayes followed up with three new HBS albums in 1976, all top 20 R&B chart entries: Disco Connection (an instrumental LP showcasing the Isaac Hayes Movement), Groove-A-Thon (introducing his female backup singers, Hot Buttered Soul Unlimited), and Juicy Fruit (Disco Freak). His tour with Dionne Warwick was chronicled in early '77 on the final HBS release, the live double-LP A Man And a Woman, recorded at the Fox Theatre in Atlanta. (Hayes and Warwick backed it up with an appearance together on "The Rockford Files.") Business setbacks had taken their toll, however, and Hayes was forced to file for bankruptcy. It would be decades before he would see his solid gold Cadillac Eldorado again (a relic of the Stax prosperity), liquidated by the IRS in 1977, but finally found and restored for display in 2003 at the Soulsville Museum. He emerged at the end of 1977 with a new record deal (Polydor), a new home base (Atlanta and its Master Sound Studios), and a new album, New Horizon. The next LP, 1978's For the Sake Of Love, brought a strong return to the charts with "Zeke The Freak." This followed through on the top 10 album Don't Let Go, whose title single was his first major R&B/Pop crossover hit in five years. His final album of the '70s was Royal Rappin's, the unforgettable collaboration with Millie Jackson that spun off the single, "Do You Wanna Make Love." In addition to releasing new albums in 1980 and '81, And Once Again and A Lifetime Thing, respectively, Hayes produced albums at this time for Linda Clifford (I'm Yours), Donald Byrd, and the Masqueraders. After his 1981 film role as the bad guy in John Carpenter's Escape From New York, Hayes took a well-earned five year break to spend more time with his family. During this period, he began to turn more and more to acting, starting with roles on tv's "The A-Team" (1985), "Hunter" (1986), and "Miami Vice" (1987), then a made-for-TV movie, Jailbait: Betrayed By Innocence, and another pair of tough guy features films, Counterforce and Dead Aim (1987). Since then, not a year has gone without Isaac Hayes undertaking a movie role or two. The three dozen or so feature films that he has done since 1990 would include Fire, Ice & Dynamite (with Roger Moore), Guilty As Charged (with Rod Steiger, 1991), Final Judgment (Brad Dourif, 1992), Posse (Mario Van Peebles, 1993), Mel Brooks' Robin Hood: Men In Tights (1993), It Could Happen To You (Nicolas Cage, 1994), Once Upon a Time... When we Were Colored (Richard Roundtree, 1995), Flipper (Paul Hogan, 1996), Six Ways To Sunday (Debbie Harry, 1997), Ninth Street (Martin Sheen, 1999, for which Hayes also scored the soundtrack), Reindeer Games (Ben Affleck, 2000), Shaft (Samuel L. Jackson, 2000), A Man Called Rage (Lance Henriksen, 2002), and the brand new made-for-tv movie Book Of Days (with Wil Wheaton). At the same time, there have also been roles on a number of tv series, including "Tales From the Crypt," "The Fresh Prince Of Bel-Air," "Sliders," "The Hughleys," "The Education of Max Bickford," "Fastlane," and as recently as May 2003, back-to-back appearances on UPN's "Girlfriends" starring Diana's daughter, Tracee Ellis Ross. Meanwhile, in 1988, Hayes was part of an all-star cast in the Keenan Ivory Wayans comedy, I'm Gonna 'Git You, Sucka. By satirizing the very movies that Shaft had inspired over the past decade and a half, it turned those movies into classics and gave the genre a festival marquee name: Blaxploitation films. Directors such as Robert Townshend, Spike Lee, the Hughes Brothers, and John Singleton would lead a new generation of Black filmmakers who would acknowledge their debt to Shaft and the movies they grew up watching as teenagers in the '70s. On the music side, Hayes had returned to the forefront in late 1986 with a new record deal (Columbia) and a new album, U-Turn, which boasted his first top 10 R&B single in some 13 years, an update of "Ike's Rap." The rap's strong anti-crack message resonated to the extent that its lyric, "Don't be a resident of crack city" was adopted as the slogan of a rehab center in Detroit. By the time his second Columbia album showed up in 1988, Love Attack, the crack epidemic had become so pervasive that Hayes agreed to become a lecturer at colleges and prisons, inspiring students and inmates to fulfill their lives' potentials without drugs.
Africa Calls:
Hayes' role as a humanitarian began to take sharper focus in late 1991, when he and Barry White traveled to the Ivory Coast in Africa to shoot a video for "Dark & Lovely (you over there)," the single from White's comeback album Put Me In Your Mix. The following year, Hayes and Dionne Warwick accepted an invitation by the Cultural Minister of Ghana (Ivory Coast's eastern neighbor) to visit the Cape Coast and Elmina slave castles. Walking through the dungeons, listening to the horrifying stories told by the guide, Hayes was overwhelmed with emotion. "It was almost like I heard the voices of my ancestors saying, 'We've come back home through you. The circle is complete. Now, you know what you must do'," he later told a journalist. When the weeping was done, Hayes realized it was not enough to help finance the renovation of the castles, there was bigger work to be done in Africa: He asked how much it would cost to build a school. Returning to America, Hayes took his energy on the road, speaking to African-American community groups and Black expos around the country. He encouraged everyone he met to visit Africa if they could, to interact with the people, or at the very least to support economic development. One speaking engagement in Queens, New York, was attended by princess Naa Asie Ocansey of Ghana, who phoned a week later. "Mr. Hayes," she asked, "would you like to be a king?" She had told her father, Nene Kubi III, a 'king-maker,' of Hayes' commitment and he said, "We need to honor this man." The coronation rituals that usually took up to two weeks were condensed to two days in late December 1992. The spectacle was attended by Public Enemy who did concerts with Hayes at Cape Coast Castle and in Accra, Ghana's capital city. Hayes was given a royal name: Nene Katey Ocansey I. "Nene means king in the Ga Dialect," he explains. "Katey means brave warrior who can calm the wild beast in the elements. Ocansey is a family name, the most powerful of the ten clans in my region, Ada, which means I do as I say!" He was appointed King For Development over the region and given land on which to build a palace. But the palace would wait: "You need education over here," he told them, "you need literacy."
Literacy:
Literacy. There is little to match Hayes' devotion to spreading the message that literacy and education are the keys to freedom and prosperity in this world. In 1993, he stumbled into Scientology and the study technology process it teaches. That same year he was named the international spokesman for Applied Scholastics' World Literacy Crusade, which currently has over 20 literacy programs in five countries with more than 1,800 people participating. Soon after, he started The Isaac Hayes Foundation (IHF, based on Wall Street), whose mission is to enable people around the world to become whole by promoting literacy, music education, nutritional education, and innovative programs that raise self-esteem among the underprivileged and teach young people how to study. In 1995, newly signed to Virgin Records (via its Pointblank label), Hayes took a typically bold step by simultaneously issuing two new CDs: Raw And Refined, by the Isaac Hayes Movement, was a set of newly recorded and old instrumental tracks, some dating back a quarter-century to the Stax era; while Branded was a lavishly arranged set of newly recorded tracks, including one with David Porter. Among the highlights were the 7-minute take on the Lovin' Spoonful's "Summer In the City," and the Watoto de Afrika children's choir singing on the 6-minute version of Sting's "Fragile." Hayes finished out the year speaking at the historic Million Man March on Washington. For 1998's Blue Brothers 2000 movie soundtrack, Hayes joined an all-star group dubbed the Louisiana Gator Boys, including B.B. King, Gary U.S. Bonds, Eric Clapton, Bo Diddley, Dr. John, Billy Preston, Lou Rawls, Koko Taylor, Jimmie Vaughan, Steve Winwood, Grover Washington, Jr., and about a dozen others - for jams on Bobby Blue Bland's "Turn On Your Love Light" and Bonds' "New Orleans." True to his promise, and thanks to the hard work of the IHF, Hayes was able to return to Ghana in the summer 1998 and officiate at the groundbreaking ceremony for the school, as part of the Asafotufiami Cultural festival in Ada. The 8,000 square foot facility, called NekoTech, enjoyed its ribbon-cutting two years later. Today, it not only delivers literacy, education, computer technology and Internet access, and health education, but also houses a chapter of the World Literacy Crusade. Johnson & Johnson, a major donor, also shipped 400 bicycles over, which are used for races around the school to promote HIV awareness to children and adults. "In Africa they got all the raw materials," Hayes says, "the richest resources in the world, but they are not being developed like they should be. If those countries get educated, they can develop manufacturing and production just like the Pacific Rim countries, and gain prosperity from that. Ghana is a democratic country and where you find democracy, you find very little, if any, terrorism. I want to be part of that movement toward democracy." His concern with literacy at home is well known. In November 1998, he took part in groundbreaking ceremonies for the $60 million Central Library in Memphis. He and Lisa Marie Presley, a lifelong friend and fellow Scientologist, established a mission for the organization in their hometown of Memphis. The mission now houses a LEAP center (Learning Education Ability Program), "for kids after school to learn how to study, to learn how to read and write." The IHF continues to partner with other nonprofit organizations to support global causes that serve community needs, actively promoting celebrity benefit concerts (like the Jam For Literacy at the House Of Blues in Los Angeles), Literacy Links 2000 (a middle school program in Memphis), and the Crusaders, a volunteer team of exhibition basketball players from all over the country who put on benefit shows for various causes.
''Truck Turner'' (From The OST)
Epilogue:
"We have the knowledge, technology, research, resources, and experience," he urges. "Let's turn crime, illiteracy, unhealthy, unproductive poverty lifestyles around from the ground up... One child, one community at a time - we can change the world! Let's give our children our best." Father of 11 children, ages 16 to 42, and grandfather of 16 - his ideas about what's best for our children are worth their weight in gold. From the lessons he learned at his grandmother's side, to the wisdom that only a true king possesses, Isaac Hayes has earned his position as one of the most influential - and productive - figures in African-American culture today. His instincts as an astute businessman and unstinting philanthropist are tempered by the soul of an artist - an accomplished musician and published author, in-demand actor on-air radio personality, and one b-a-a-a-d cook in the kitchen. Above all, he is a man of action and determination. He knows that, while it is important to have others who believe in you and can help you towards your goals, ultimately it is all up to what the individual himself or herself brings to the table. "At the end of the day," he told one journalist, "we are responsible for our own lives. If anything happens to us, don't blame somebody else. Backtrack and look at what you did to contribute to that. You also contribute to your successes. Once you learn that, you're on your way." From Isaac Hayes.com
Few figures exerted greater influence over the music of the 1960s and 1970s than Isaac Hayes; after laying the groundwork for the Memphis soul sound through his work with Stax-Volt Records, Hayes began a highly successful solo career which predated not only the disco movement but also the evolution of rap. Hayes was born on August 20, 1942, in Covington, TN; his parents died during his infancy, and he was raised by his grandparents. After making his public debut singing in church at the age of five, he taught himself piano, organ, and saxophone before moving to Memphis to perform on the city's club circuit in a series of short-lived groups like Sir Isaac and the Doo-Dads, the Teen Tones, and Sir Calvin and His Swinging Cats. In 1962, he began his recording career, cutting sides for a variety of local labels. Two years later, Hayes began playing sax with the Mar-Keys, which resulted in the beginning of his long association with Stax Records. After playing on several sessions for Otis Redding, Hayes was tapped to play keyboards in the Stax house band, and eventually established a partnership with songwriter David Porter. Under the name the Soul Children, the Hayes-Porter duo composed some 200 songs, reeling off a string of hits for Stax luminaries like Sam & Dave (the brilliant "When Something Is Wrong with My Baby," "Soul Man," and "Hold on, I'm Comin'"), Carla Thomas ("B-A-B-Y"), and Johnnie Taylor ("I Got to Love Somebody's Baby," "I Had a Dream"). In 1967, Hayes issued his debut solo LP Presenting Isaac Hayes, a loose, jazz-flavored effort recorded in the early-morning hours following a raucous Stax party. With the release of 1969's landmark Hot Buttered Soul, he made his commercial breakthrough; the record's adventuresome structure (comprising four lengthy songs), ornate arrangements, and sensual grooves -- combined with the imposing figure cut by his shaven head, omnipresent sunglasses, and fondness for gold jewelry -- made Hayes one of the most distinctive figures in music. After a pair of 1970 releases, The Isaac Hayes Movement and To Be Continued, he reached his commercial zenith in 1971 with the release of Shaft, the score from the Gordon Parks film of the same name. Not only did the album win Hayes an Academy Award for Best Score (the first African-American composer to garner such an honor), but the single "Theme from Shaft," a masterful blend of prime funk and pre-rap monologues, became a number one hit. After 1971's superb Black Moses and 1973's Joy, Hayes composed two 1974 soundtracks, Tough Guys and Truck Turner (in which he also starred). By 1975, relations with Stax had disintegrated following a battle over royalties, and soon he severed his ties with the label to form his own Hot Buttered Soul imprint. Although both 1975's Chocolate Chip and 1976's Groove-a-Thon went gold, his records of the period attracted considerably less attention than prior efforts; combined with poor management and business associations, Hayes had no choice but to file for bankruptcy in 1976. After the 1977 double-LP A Man and a Woman, recorded with Dionne Warwick, Hayes began a comeback on the strength of the hit singles "Zeke the Freak," "Don't Let Go." and "Do You Wanna Make Love." Following the success of his 1979 collection of duets with Millie Jackson titled Royal Rappins, he issued a pair of solo records, 1980's And Once Again and 1981's Lifetime Thing before retiring from music for five years. After returning in 1986 with the LP U Turn and the Top Ten R&B hit "Ike's Rap," Hayes surfaced two years later with Love Attack before again dropping out of music to focus on acting. In 1995, fully enshrined as one of the forefathers of hip-hop and newly converted to Scientology, Hayes emerged with two concurrent releases, the vocal Branded and instrumental Raw and Refined. Under the official name Nene Katey Ocansey I, he also served as a member of the royal family of the African nation of Ghana while continuing simultaneous careers as an actor, composer, and humanitarian. In 1997, Hayes provided the voice of what was slated to be a one-time character on the animated series South Park -- Jerome "Chef" McElroy, the main characters' favorite school cafeteria worker. Hayes was an instant hit, and Chef became a regular character on the show, lending advice and, oftentimes, breaking into songs that gently sent up Hayes' image as one of R&B's ultimate love men. South Park made Hayes more visible than ever and cemented his status as an icon with a whole new generation. He contributed the infamous "Chocolate Salty Balls" to the South Park tie-in album Chef Aid, and naturally appeared in the film South Park: Bigger, Longer, Uncut. (He left the show only after an episode made fun of Scientology.) In 2000, Hayes revisited his biggest triumph of the past by appearing in the remake of Shaft starring Samuel L. Jackson. The following year, he supported Alicia Keys as a musician and arranger on her acclaimed debut, Songs in A Minor. Although he recorded little during the 2000s, he appeared in many films, including 2004's Hustle and Flow. Hayes was in ill health on August 10, 2008, when he collapsed at his home in Memphis and was pronounced dead later that day of a stroke due to high blood pressure.
''Zeke The Freak'' (From The ''For The Sake Of Love'' LP)
SSC Comment:
Il mio incontro musicale con Mr. BLACK MOSES avviene nei primi anni '90 acquistando l'LP super classico "SHAFT - il Detective" di cui possiedo anche DVD e VHS Originale... poi è stata una continua corsa ad acquistarli tutti e rigorosamente Originali i suoi LP del periodo 60/70... ma la cosa che ricordo più piacevolmente sono stati i due Live (1997 dove mi ha autografato Black Moses e Live At the Sahara Tahoe e 2005 dove l'ho praticamente toccato con mano e avuto spesso a meno di un metro dalla mia persona) ... vedere dal vivo una Leggenda come LUI e poter percepire il CARISMA che emanava, non ha eguali. Nel primo Live, quello del 1997 (entrambi in Porretta Terme) l'ho perfino seguito quando è partito con la macchina (una Volvo Station Wagon grigio, con tanto di super gnocca al suo fianco)... conoscerò anni dopo, in una mia esperienza lavorativa, la persona che guidava quell'auto quella sera la quale mi raccontò che si diressero a Firenze a dormire e che Isaac era una vera STAR anche nei comportamenti... del resto, sono non lo faceva uno come LUI ... allora chi ? La notizia della sua dipartita, in quel modo così strano mi colse oltre che impreparato anche molto dispiaciuto, lasciandomi un vuoto che ancora oggi riesco a colmare solamente con l'ascolto delle sue musiche... Grazie Isaac... Grazie Mr. Black Moses (R.I.P.)! Simone Zerbini a.k.a. SSC
Ape's Comment:
Che dire?...La scomparsa di questo grande ed eclettico artista lasciò il mondo esterrefatto ed in lutto, e non solo quello artistico. Chi non conosce Shaft, ''I'm Shaft, John Shaft''? Per la mia esperienza personale, conobbi Hayes musicalmente nel 1976 con l'LP ''Groove-A-Thon'', e subito dopo per il 45 di ''Shaft'' che era del 1971, ma ascoltatissimo anche negli anni successivi. Ripeto, artista eclettico, dalla voce calda ed inconfondibile e di stile proprio, Hayes è sicuramente un 'caso' artistico irripetibile. Firmò per grandi case discografiche, la Stax, l'Enterprise, la Polydor, intraprese viaggi musicali svariati, dal soul al funky, dalle soundtracks alla disco al pop. Un grande artista, di cui vi proponiamo varie edizioni di Blues 'N Soul gentilmente offertaci da SSC. Edizioni del 1971, 1972 e 1975.
Per l'ascolto non abbiamo scelto pezzi famosi, ormai ascoltatissimi, ma cose un po' ''diverse''. Speriamo siano di vostro gradimento. Resta in pace, grande Isaac.
''Padlock'' (Special Mixes By Larry Levan) ( Mini LP, Garage Records/Island Trading Co., 1983 ) Catalog # ITG 2001
Includes exclusive Larry Levan remixes of mainly tracks of Gwen Guthrie's album Portrait. The original 12 inch EP was released on the (in)famous New York City night club Paradise Garage's own Garage Records label.
Personnel & Credits: Bass – Robbie Shakespeare Drums – Sly Dunbar Engineer – Steven Stanley Engineer [Assistant] – Benji Armbrister, Robert Morety Guitar – Darryl Thompson Keyboards – Wally Badarou Producer – Sly & Robbie, Steven Stanley (tracks: A4) Remix – Larry Levan Vocals – Gwen Guthrie Written-By – R. Shakespeare (tracks: A2, A4), S. Dunbar (tracks: A4, B2), T. Smith (tracks: A3, B3)
Notes: Gwen Guthrie is the primary artist, even though Larry Levan and the other musicians & producers get equal billing on the jacket artwork. On cover and labels it has a stamped-style logo 'Distributed by Island Trading Co.' as well as printed text 'Manufactured and Distributed by Antilles/Mango Records, a division of Island Trading Co, 14E. 4th St., N.Y., N.Y. 10012.' Format:Vinyl, LP, Mini-Album Country:US Released:1983 **Also re-issued on CD with Bonus Tracks.
Biography by Andrew Hamilton (AMG): Gwen Guthrie is best known for her number one R&B single "Ain't Nothin' Goin' on But the Rent," a popular self-written bouncer. A prolific songwriter and a good pianist, she also penned "Supernatural Thing" for Ben E. King and "This Time I'll Be Sweeter" for Martha Reeves, which was later popularized by Angela Bofil and Issac Hayes. In all, Guthrie logged approximately 50 compositions, and many thought Guthrie and songwriting partner Patrick Grant had the potential to become another Ashford & Simpson. Born in Newark, New Jersey, in 1950, Guthrie started singing in high school with a female quartet called the Ebonettes. (Another one of its members, Brenda White King, pursued music like Guthrie and became an in-demand session singer.) Guthrie sang lead for a group (East Coast) formed by Larry Blackmon (later of Cameo) in New York, but got her big break when she was asked to do a background session for Aretha Franklin, the number one R&B hit "I'm in Love," from 1974. Six months later, Guthrie signed as a staff writer with Bert de Coteaux Productions and co-wrote "Love Don't Go Through No Changes," the first hit for Sister Sledge, and many others with Grant. The collaboration didn't last long, however. Guthrie continued to write with a variety of partners, and supplied backing vocals to many recording sessions. Working with Peter Tosh in the late '70s, Guthrie befriended reggae stars Sly Dunbar and Robbie Shakespeare, who invited her to Nassau to record vocals for an album they were producing. Hearing her unique voice in the studio, Island Records founder Chris Blackwell inked her to a contract, and the Dunbar/Shakespeare project, assisted by David Conley of Surface, became her first solo release, a self-titled LP. She did score a dancefloor hit with the album's "It Should Have Been You." Her second LP, Portrait, released in 1983, followed a similar formula. Album number three, Good to Go Lover, dropped in 1986, and spawned her chart-topper "Ain't Nothin' Goin' on but the Rent," plus the torching ballad "You Touched My Life." On Lifeline (1988), Guthrie was more involved in the writing and production. Hot Times was Guthrie's final LP release, hitting the streets in 1990. Like the previous LP, she wrote nearly everything, except for a moving remake of Stephanie Mills' "Never Knew Love Like This Before." GuthrieGuthrie died on February 3, 1999, of uterine cancer in Orange, New Jersey.
''Portrait'' ( LP Island Records, 1983 ) Catalog # 90082-1
Gwen Guthrie (July 9, 1950 – February 3, 1999) was an American singer-songwriter, who also sang backing vocals for Aretha Franklin, Billy Joel, Stevie Wonder, and Madonna, among others, and who wrote songs made famous by Ben E. King, and Roberta Flack.
Tracklisting & Hide Credits: A1 Peanut Butter Keyboards [Bass Synthesizer] – Frankie Waul 5:01 A2 Seventh Heaven 4:18 A3 You're The One 4:42 A4 Family Affair Engineer [Recording] – Steven Stanley Synthesizer, Keyboards [Clavinet] – Bernie Worrell 3:42 B1 Hopscotch Keyboards [Bass Synthesizer] – Frankie Waul 5:18 B2 Younger Than Me 4:38 B3 Padlock 4:51 B4 Oh What A Life 4:48
Personnel & Credits: Bass – Robbie Shakespeare Drums – Sly Dunbar Engineer [Assistant] – Benji Armbrister, Michael Christopher Engineer [Lead Vocals] – Steven Stanley (tracks: A2, A3, B4) Engineer [Recording] – Michael Brauer (tracks: A1 to A3, B1 to B4) Lead Guitar, Rhythm Guitar, Guitar Synthesizer – Billy "Spaceman" Patterson, Darryl Thompson Lead Vocals, Backing Vocals – Gwen Guthrie Mixed By – Michael Brauer, Sly Dunbar & Robbie Shakespeare Percussion – Jimmy Maeulin Piano [Acoustic], Electric Piano – Harry Whitaker Producer – Sly Dunbar & Robbie Shakespeare Producer [Associate] – Michael H. Brauer Synthesizer – Wally Badarou
Notes: Recorded at Compass Point Studios, Nassau, Bahamas. Format:Vinyl, LP, Album Country:US Released:1983
''Padlock''
Reviews: Sly and Robbie again, and the same basic formula: mindless dance tracks Guthrie didn't write, some with good hooks ("Seventh Heaven"), some without ("Hopscotch"), and a couple of fine Guthrie slow numbers ("Younger Than Me," "Oh What A Life"). The most embarrassing moment is a bubble-gum funk cover of Sly Stone's "Family Affair," which loses all the original's power. Guests include Bernie Worrell and Jimmy Maeulin. From WARR
Biography: Guthrie was born in Okemah, Oklahoma and raised in Newark, New Jersey. In school, she studied classical music, and her father began teaching her piano when she was eight years old. By the early 1970s, she had joined vocal groups such as the Ebonettes and the Matchmakers, meanwhile working as an elementary school teacher. When a backup singer scheduled to sing on Aretha Franklin's 1974 single "I'm in Love" fell ill, Guthrie took the vocalist's place beside Cissy Houston; thus Guthrie would happily state that her career on record began "at the top". Guthrie soon began moonlighting as a singer of commercial jingles, sometimes with her friend Valerie Simpson (of the Ashford & Simpson fame). A songwriting partnership with her then boyfriend, trombonist/bassist Haras Fyre (professionally known as "Patrick Grant") resulted in Ben E. King's comeback single, "Supernatural Thing", and "This Time I'll Be Sweeter", covered by numerous artists. Together they wrote seven tracks on the Sister Sledge's 1975 album Circle of Love: "Cross My Heart", "Protect Our Love", "Love Don't You Go Through No Changes on Me", "Don't You Miss Him Now", "Pain Reliever", "You're Much Better Off Loving Me", and "Fireman". She was also the writer of Roberta Flack's "God Don't Like Ugly". As Guthrie's solo career developed, she worked extensively with Sly and Robbie on dub-influenced club cuts, and began racking up dance hits. She was dubbed "The First Lady of the Paradise Garage" as several of her songs became anthems at the venue, helped by the frequent and dynamic performances she gave there. She soon teamed musically with famed Paradise Garage DJ Larry Levan, and recorded her first major landmark hit, "Padlock" in 1983 with the Compass Point All Stars in Nassau, Bahamas which became a club and radio hit two years later. Guthrie is probably best known for her 1986 dance anthem "Ain't Nothin' Goin' on But the Rent", a self-written and -produced track which garnered some controversy for its misandric and materialistic lyrics such as: "You've got to have a j-o-b if you want to be with me/No romance without finance". A literal reading suggests a man only require the finances to make a relationship work. However, Guthrie's lyrics intend to motivate her partner into being responsible for maintaining equality and financial stability. "Ain't Nothin' Goin' on But the Rent" was later sampled by numerous dance and hip hop artists, notably by Foxy Brown in her 1998 song "JOB" featuring Mýa and by Utah Saints for the original version of their hit "What Can You Do for Me". The song is referenced in the Eddie Murphy monologue "No Romance Without Finance", in his Eddie Murphy Raw concert and film (also available on DVD). Guthrie also had a hit in 1986 with a cover of "(They Long to Be) Close to You", which reached number twenty-five on the UK Singles Chart the same year. Her single "Can't Love You Tonight" boldly addressed AIDS at a time when the disease was a taboo subject. Guthrie was an ally to the gay community, and to people with AIDS long before the masses caught up. Proceeds from the single went to the AIDS Coalition. Other club hits of hers include the Compass Point All Stars-produced "Seventh Heaven", "Peanut Butter", and "Peek-a-Boo". "Padlock" was later covered by M People, who included it on their 1995 album Bizarre Fruit, featuring vocalist Heather Small. Guthrie died of uterine cancer on February 3, 1999, at the age of 48, and was interred in Fairmount Cemetery in Newark, New Jersey. From Wikipedia
Ms. Gwen Guthrie
(The First Lady of the Paradise Garage)
Ms. Guthrie Main Discography: Albums: 1973: East Coast (Encounter) 1982: Gwen Guthrie (Island) - R&B #28 1983: Portrait (Island) 1983: Padlock (Garage Records/Island) - R&B #47 1985: Just for You (4th & Broadway/Island) - R&B #55 1986: Good to Go Lover (Polydor) - US #89, R&B #20, UK #42[3] 1987: Ticket to Ride (4th & Broadway/Island) 1988: Lifeline (Warner Brothers) 1990: Hot Times (Reprise/Warner Brothers) 1999: Ultimate Collection (Hip-O) Singles: 1979: "Never (Gonna Let You Go)" (Charme featuring Gwen Guthrie) 1981: "Nothing But Love" (with Peter Tosh) - R&B #43 1982: "It Should Have Been You" - R&B #27 1982: "Peek-a-Boo" 1982: "For You (With a Melody Too)" 1983: "Peanut Butter" - R&B #83 1983: "Hopscotch" 1984: "Love in Moderation" - US #110, R&B #17 1985: "Say Yeah" (with The Limit) 1985: "Just for You" - R&B #53 1985: "Padlock" (Larry Levan Remix) - US #102, R&B #25 1985: "Peanut Butter" (Larry Levan Remix) - R&B #75 1986: "Ain't Nothin' Goin' on But the Rent" - US #42, R&B #1, UK #5 1986: "Seventh Heaven" - UK #85 1986: "Outside in the Rain" - R&B #51 1986: "(They Long to Be) Close to You" - R&B #69, UK #25 1986: "You Touched My Life" - BR #10 1987: "Good to Go Lover" / "Outside in the Rain" - UK #37 1987: "Family Affair" (Larry Levan Remix) 1987: "Ticket to Ride" 1987: "Friends and Lovers" (with Boris Gardiner) - UK #97 1988: "Can't Love You Tonight" - UK #79, R&B #83 1988: "Rockin' Chair" 1990: "Miss My Love" 1990: "Say It Isn't So" 1991: "Sweet Bitter Love" - R&B #74 1992: "Eyes (You Never Really Cared)" - UK #95 1993: "Ain't Nothin' Goin' on But the Rent" (Remix) - UK #42 1993: "This Christmas Eve" 1994: "What a Life" (Joey Negro featuring Gwen Guthrie)
"Introducing The Versatility Of Jesse Morrison" ( LP Abet Records, 1975 ) Catalog # Abet 408
Tracklisting: 1. Shakey Puddin' - 4:00 2. Loving you - 4:25 3. Stop,Look & Listen - 3:09 4. Love Won't Let Me Wait - 7:00 5. Hound Dog - 3:09 6. There Will Never Be Another You - 4:00 7. Muddy Water - 2:35 8. Ease On Down The Road - 3:35 9. Tell Me Can You Feel It - 5:26
Credits: Jesse Morrison (flute, Saxophone); with ensemble.
Notes: Jazz and rhythm and blues music. Biographical notes printed on container. Format:Vinyl, LP Country:US Released:1975
James T. "Jimmy" Ellis, who belted out the refrain "Burn, baby burn!" in a 1970s-era disco hit that's still replayed in modern sports arenas, has died. He was 74.
David Turner of Bass-Cauthen Funeral Home in Rock Hill, S.C., said the frontman for The Trammps died Thursday at a nursing home in the city. A cause of death was not immediately known.
The Trammps released "Disco Inferno" — the song with the popular refrain — in 1976. The song was featured in the iconic movie "Saturday Night Fever," its soundtrack winning the Grammy Award for Album of the Year in 1978. "Disco Inferno" soared up to No. 11 on Billboard's Hot 100 on May 27, 1978.
Turner said a memorial service will be held Friday in Charlotte, N.C.
Tracklisting: 01 That's Groovy 02 Without You 03 Punish Me 04 If You Want Me To Leave 05 Little By Little 06 We Got A Thing Going On 07 I Found Me A Girl 08 Hey There Little Girl 09 My Friend Heartaches 10 Just Another Lonely Night
Note: Issued in August '72
Reviews: An extremely good album all the way through, with ten gems in a row. It was produced in 1972 by William "Mickey" Stevenson and Curtis Colbert on the same label that delivered us the Skull Snaps' masterpiece. The musicians involved are of the highest order: Paul Humphrey on drums, Wilton Felder on bass, Arthur Adams on guitar, and Joe Sample on piano, plus The Firm Of Hodges, James, Smith & Crawford on vocals. Don't miss this one!
Ultra rare Soul album from 1972. The Marvin-ish "Punish Me","That's Groovy","Hey There Little Girl". The LP is equal in quality of the greatest major artists of this time. From Groovebuster
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