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Tuesday, December 23, 2008

Aretha Franklin Discography

b. Aretha Louise Franklin, 25th March 1942, Memphis, Tennessee, U.S.A.

Aretha Franklin's roots are purely gospel based.

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Albums:

  • The Gospel Soul of Aretha Franklin (1956)
  • Aretha (Columbia 1961)
  • The Electrifying Aretha Franklin (Columbia 1962)
  • The Tender The Moving, The Swinging (Columbia 1962)
  • Laughing On The Outside (Columbia 1963)
  • Unforgettable (Columbia 1964)
  • Songs Of Faith (Checker 1964)
  • Running Out Of Fools (Columbia 1964) 
  • Yeah!!! (Columbia 1965)
  • Queen Of Soul (1965)
  • Once In A Lifetime (1965)
  • Soul Sister (Columbia 1966)
  • Take It Like You Give It (Columbia 1967)
  • I Never Loved A Man The Way That I Love You (Atlantic 1967)
  • Aretha Arrives (Atlantic 1967)
  • Take A Look - early recordings (Columbia 1967)
  • Aretha: Lady Soul (Atlantic 1968)
  • Aretha Now (Atlantic 1968)
  • Aretha In Paris (Atlantic 1968)
  • Aretha Franklin: Soul '69 (Atlantic 1969)
  • Today I Sing The Blues (Columbia 1969)
  • Soft And Beautiful (Columbia 1969
  • I Say A Little Prayer (1969)
  • Aretha Franklin Live (1969)
  • This Girl's In Love With You (Atlantic 1970)
  • Spirit In The Dark (Atlantic 1970)
  • Two Sides Of Love (1970)
  • Aretha Live At Fillmore West (Atlantic 1971)
  • "Don't Fight the Feeling : The Complete Aretha Franklin & King Curtis Live at the Fillmore West" (1971)
  • Young, Gifted And Black (Atlantic 1972)
  • Amazing Grace (Atlantic 1972) / alternate
  • Hey Now Hey (The Other Side Of The Sky) (Atlantic 1973)
  • Let Me Into Your Life (Atlantic 1974)
  • With Everything I Feel In Me (Atlantic 1974)
  • You (Atlantic 1975)
  • Sparkle (Atlantic 1976)
  • Sweet Passion (Atlantic 1977)
  • Satisfaction (1977)
  • Almighty Fire (Atlantic 1978)
  • La Diva (Atlantic 1979)
  • Aretha (Arista 1980)
  • Love All The Hurt Away (Arista 1981)
  • Jump To It (Arista 1982)
  • Get It Right (Arista 1983)
  • Who's Zoomin' Who? (Arista 1985)
  • Aretha (Arista 1986)
  • One Lord, One Faith, One Baptism (Arista 1987)
  • Through The Storm (Arista 1989)
  • What You See Is What You Sweat (Arista 1991)
  • Aretha Gospel (live) (1991)
  • A Rose is Still a Rose (1998)
  • So Damn Happy (Arista 2003)
  • Joy to the World (christmas) (2006)
  • This Christmas (Borders, 2008

Compilations
  • Sweet Bitter Love (1960-66 material)
  • Aretha Sings the Blues (early)
  • Respect and other Hits (1997)
  • The Delta Meets Detroit - Aretha's Blues (1998)
  • Love Songs (1997)
  • Jazz to Soul (1992)
  • Beautiful Ballads and Love Songs (2008)
  • Jewels in the Crown (duets) (2007)
  • Rare & Unreleased (Rhino, 2007, 2 CDs)
  • Triology (3 CDs) - (2006)
  • Sunday Morning Classics (2009, 3 Cds)
  • Aretha Franklin (Gospel tracks)

Remixes / 7" / 12" singles
  • 'A Rose Is Still a Rose' - Hex Hector club mix
  • 'Jump to It' remixes - Andy Apple & Disco Deviance
  • 12" : "I Knew You Were Waiting" (with George Michael)
  • 12" : The Only Thing Missin' (2003)
  • 12" : Jumping Jack Flash (1986)
  • 12" : Jimmy Lee
  • 12" : A Deeper Love
  • 12" : A Deeper Love pt 1
  • 12" A Deeper Love Pts 2 & 3
  • 12" : Who's Zoomin Who ?
  • 12" : Freeway Of Love
  • 12 " : Aretha Franklin & Whitney Houston - It Isn't, It Wasn't, It Ain't Never Gonna Be
  • 12" : Classics (many songs)
  • 12" : Jump To It
  • 7" : Soulville / Evil Gal Blues

Video
  • Live At Park West (1985)

Bootlegs

  • Live at Jamaica World Music Festival (1982)
  • Stockholm (1968) - FLAC

Friday, December 19, 2008

The Last Poets Discography


Last Poets were rappers of the civil rights era. Along with the changing domestic landscape came the New York City-hip group called The Last Poets, who used obstreperous verse to chide a nation whose inclination was to maintain the colonial yoke around the neck of the disenfranchised.


Read More @ Blax-Pride

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Main albums:

Singles

Jalal solo and collaborations :
  • Umar Bin Hassan solo and collaborations :
Gylan Kain solo (as "Kain) :

Compilations :

Contributions by : Fresh Sly, ksn, Mona, Juronjux, thecorrector

Sunday, December 14, 2008

Deodato Discography


b. Eumir Deodato Almeida, 21st June 1942, Rio de Janeiro, Brazil.


Read More @ Blax-Pride

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Albums
  • Ideias (Odeon, 1964)
  • Samba Nova Concepcao (1964)
  • Impulso! (1964)
  • Tremendao (Ubatuqui, 1964)
  • Ataque (Ubatuqui, 1965)
  • Os Catedraticos (Ubatuqui, 1965)
  • Los Danseros en Bolero (1965
  • Inutil Paisagem (1966)
  • Love, Strings and Jobim (1966)
  • Best of Friends (with 'Daybreak') (1971)
  • Percepção (1972)
  • Skyscrapers (1972) aka Os Catedraticos 73 (1973)
  • Prelude (CTI 1973)
  • Donato-Deodato (1973)
  • Deodato 2 (CTI 1973)
  • with Airto: In Concert (CTI 1974)
  • Whirlwinds (MCA 1974)
  • Artistry (MCA 1974)
  • First Cuckoo (MCA 1975)
  • Very Together (MCA 1976)
  • Love Island (Warners 1978)
  • Knights of Fantasy (1969)
  • Night Cruiser (Warners 1980)
  • Happy Hour (Warners 1982)
  • Motion (Warners 1984)
  • Somewhere Out There (Atlantic 1989)
  • Bossa Nova O.S.T. (1999)
  • Plays Marcos Valle: Summer Samba (2002)

Compilations

  • The Bossa Nova Sessions Vol 1 (2002) - combines the two 1964 albums ‘Samba Nova Concepcao’ and ‘Impulso’
  • The Bossa Nova Sessions Vol 2 (2002) - combines the two 1965 albums ‘Tremendao’ and ‘Ataque’
  • Lounge '64 (irma) - early work compilation
  • 'Deodato for Dummiez' 

Information




Thanks Zand and other blogs.

The Dells Discography


A soul vocal and close harmony group formed in 1953 as the El-Rays, who comprised:

Johnny Funches (b.18th July 1935, Harvey, Illinois, U.S.A., d. 23rd January 1998, lead)

Marvin Junior (b. 31st January 1936, Harrell, Arkansas, U.S.A., tenor)

Verne Allison (b. 22nd June 1936, Chicago, Illinois, U.S.A., tenor)

Lucius McGill (b. 1935, Chicago, Illinois, U.S.A., tenor)

Mickey McGill (b. 17th February 1937, Chicago, Illinois, U.S.A., baritone)

Chuck Barksdale (b. 11th January 1935, Chicago, Illinois, U.S.A., bass)


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Albums

  • Oh What A Nite (1959)
  • It's Not Unusual (1965)
  • There Is (Cadet 1968)
  • Love Is Blue (Cadet 1969)
  • The Dell Musical Menu / Always Together (Cadet 1969)
  • Like It Is, Like It Was (Cadet 1970)
  • Freedom Means (Cadet 1971)
  • Dells Sing Dionne Warwick's Greatest Hits (Cadet 1972)
  • Sweet As Funk Can Be (Cadet 1972)
  • The Dells (Cadet 1973)
  • Give Your Baby A Standing Ovation (Cadet 1973)
  • with the Dramatics: The Dells Vs The Dramatics (Cadet 1974)
  • The Mighty Mighty Dells (Cadet 1974)
  • We Got To Get Our Thing Together (Cadet 1975)
  • No Way Back (Mercury 1975)
  • They Said It Couldn't Be Done, But We Did It (Mercury 1977)
  • Love Connection (Mercury 1977)
  • New Beginnings (ABC 1978)
  • Face To Face (ABC 1979)
  • I Touched A Dream (20th Century 1980)
  • Whatever Turns You On (20th Century 1981)
  • One Step Closer (1984)
  • The Second Time (Veteran 1988)
  • Music From The Motion Picture: The Five Heartbeats (Virgin 1991)
  • I Salute You (Philadelphia International 1992)
  • Reminiscing (Volt 2000)
  • Open Up My Heart / The 9/11 Album (Devine 2002)
  • Open Up My Heart / The 9/11 Suite (Devine 2002)
  • Hott (A & E Records 2004)
  • Then and Now (2008)


Singles & 45's
  • Stay In My Corner [7 inch] (single) (1968)
  • The Dells Early Recordings


Compilations
  • Stay In My Corner (Cadet 1968)
  • Oh, What A Night (Cadet 1970)
  • The Dells On Their Corner (1992)
  • Dreams of Contentment (Vee-Jay 1993)
  • Dells, Vol. 2 (Vee-Jay 1994)
  • Passionate Breezes (1995)
  • Ultimate Collection (2004)


Other
  • Comme Un Aimant OST (performed "You Promised Me")

Thursday, December 11, 2008

The Blackbyrds Discography


The original Blackbyrds were formed in 1973 by jazz trumpeter Donald Byrd.

The line up consisted of:

Allan Curtis Barnes (b.1949, Detroit, Michigan, U.S.A.) (reeds)

Barney Perry (b.1953, Buffalo, New York, U.S.A.) (guitar)

Kevin Kraig Toney (b.1953 Detroit, Michigan, U.S.A.) (keyboards)

Joseph Hall, III (b.1954, Washington, D.C., U.S.A.) (bass)

Pericles Jacobs, Jr. (b.1951, Washington, D.C., U.S.A.) (percussion)

and Keith Killgo (b.1954, Baltimore, Maryland, U.S.A.) (drums)


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Albums

  • The Blackbyrds (Fantasy 1974)
  • Flying Start (Fantasy 1974)
  • Cornbread, Earl And Me (Fantasy 1975)
  • City Life (Fantasy 1975)
  • Unfinished Business (Fantasy 1976)
  • City Life
  • Action (Fantasy 1977)
  • Night Grooves (Fantasy 1978)
  • Better Days (Fantasy 1980)

Monday, December 8, 2008

The Stylistics Discography


The Stylistics. were formed in 1968 from the fragments of two Philadelphia groups, the Monarchs and the Percussions, by:

Russell Thompkins Jnr. (b. 21st March 1951, Philadelphia, Pennsylvania, U.S.A.)

Airrion Love (b. 8th October 1951, Philadelphia, Pennsylvania, U.S.A.)

James Smith (b. 16th June 1950, New York City, U.S.A.)

Herbie Murrell (b. 27th April 1949, Lane, South Carolina, U.S.A.)

and James Dunn (b. 4th February 1950, Philadelphia, Pennsylvania, U.S.A.).

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Signing to Avco Records, The Stylistics began working with producer Thom Bell, who had already produced a catalogue of hits for The Delfonics, and songwriter Linda Creed. Bell imported the sweet soul techniques he had perfected with The Delfonics, and his arrangements worked perfectly with Thompkins' falsetto. The bittersweet lyrics from Creed were a key factor in creating hugely memorable music. They had their first U.S. hit in 1971 with "You're a Big Girl Now".

Their hits — distilled from three albums — from this period included "Betcha by Golly Wow!" (U.S. #3), "I'm Stone in Love with You", "Break Up To Make Up" (U.S. #5), "You Make Me Feel Brand New" featuring a double lead with Love, "Stop, Look, Listen (To Your Heart)" and "You Are Everything". "You Make Me Feel Brand New" was the group's biggest U.S. hit, holding at #2 for two weeks in the spring of 1974, and was one of five U.S. gold singles the Stylistics collected. The Stylistics' smooth sound also found an easier path onto adult contemporary airwaves than other soul artists, and the group made Billboard magazine's Easy Listening singles chart twelve times from 1971 to 1976, with three entries ("Betcha by Golly Wow!," "You Make Me Feel Brand New," and "You'll Never Get To Heaven (If You Break My Heart)") reaching the Top 10. This commercial success was not confined only to the U.S., with the band also having big hits with this material throughout Europe.

The group split with Thom Bell in 1974, and the split proved commercially devastating to the group's success in the U.S. Just as with The Delfonics, The Stylistics were to some extent a vehicle for Bell's own creativity. They struggled hard to find producers who could come up with the right material, and partnerships with Hugo & Luigi and Van McCoy were notably less successful. They left Avco for H&L Records and the Stylistics' popularity rapidly declined in the U.S. However, just as that success began to wane, their popularity in Europe, and especially the United Kingdom, increased. Indeed, the lighter 'pop' sound fashioned by Van McCoy and Hugo and Luigi gave the band a UK Number one in 1975 with "I Can't Give You Anything (But My Love)". Further successes with "Na Na is the Saddest Word", "Funky Weekend" and "Can't Help Falling in Love" consolidated the band's European popularity.

Notwithstanding this, the Stylistics began to struggle with what many saw as increasingly weak material after 1976. Although the singles and albums came out as before, chart success vanished. This decline also coincided with the rise of New Wave in Europe around this time. It was also stated by Russell Thompkins Jr. (in the re-issue sleevenotes for the 1976 album Fabulous) that the band began to feel that the music they were recording was becoming increasingly dated, and not in keeping with the emerging disco sound of the late 1970s.

In 1980, James Dunn departed due to health problems, and James Smith left shortly thereafter. The group continued, recruiting new member Raymond Johnson, and releasing the album Some Things Never Change, in 1985. Johnson departed shortly afterward, leaving the group a trio. Love, Murrell, and Thompkins continued to tour until 2000, when original lead Russell Thompkins, Jr. left. Love and Murrell brought in two new members, Harold "Eban" Brown, formerly of the Delfonics, as lead (who sounds amazingly like a young Russell Thompkins), and tenor Van Fields. The present group is featured live on the DVD's "The Stylistics Live at the Convention Center" (2006), as well as along with other artists of the 1970s on the DVD "The Big Show."

In 2004, Russell Thompkins, Jr. started a new group, the New Stylistics, with the returning Raymond Johnson, James Ranton, and Jonathan Buckson. They are featured on the DVD "Old School Soul Party Live!," which was part of the PBS "My Music" series.

In 2006, their hit single "I Can't Give You Anything (But My Love)" was used as the base for a Japanese advertisement campaign by Gatsby to launch their new male hair styling product "Moving Rubber". The campaign was highly successful due in no small part to the catchy nature of the tune and that the commercial featured one of Japan's most popular celebrities Takuya Kimura of the pop group SMAP. They were also featured guests on SMAP's television show SMAPXSMAP one of the highest rated shows in Japan to promote the "Moving Rubber" product with Takuya Kimura.

Their song, "People Make the World Go Round", was used by Spike Lee in the soundtrack for his movie, Crooklyn, made in 1994.










Albums
  • The Stylistics (Avco 1971)
  • Round 2: The Stylistics (Avco 1972)
  • Rockin' Roll Baby (Avco 1973)
  • Heavy (1974)
  • Let's Put It All Together (Avco 1974)
  • From The Mountain (Avco 1974) [Same as Heavy]
  • Thank You Baby (Avco 1975)
  • You Are Beautiful (Avco 1975)
  • Fabulous (H&L 1976)
  • Once Upon A Juke Box (H&L 1976)
  • Sun And Soul (H&L 1977)
  • Wonder Woman (H&L 1978)
  • In Fashion (H&L 1978)
  • Love Spell (1979)
  • Live In Japan (1979)
  • The Lion Sleeps Tonight (1979)
  • Hurry Up This Way Again (TSOP/ Philadelphia International 1980)
  • Closer Than Close (MOP/Philadelphia International 1982)
  • 1982 (TSOP/Philadelphia International 1982)
  • A Special Style (1985)
  • Some Things Never Change (Streetwise 1985)
  • Christmas (Amherst 1992)
  • Love Talks (1993)
  • Love Is Back In Style (Marathon 1996)
  • That Same Way (2008)

Compilations
  • Very Best of the Stylistics
  • Black Satin (H&L 1979)
  • Looking At Love Again (1992) - combination of 'In Fashion' / 'Love Spell'
  • Greatest Hits and More (2008) includes new album "That Same Way" - see above

Miscellaneous
  • "People Make the World Go Round" cover versions

Sunday, November 23, 2008

Gladys Knight & The Pips Discography


Gladys Knight, b. 28th May 1944, Atlanta, Georgia, U.S.A.

Glady's Knight's elder brother 'Merald' Bubba (b. 4th September 1942, Atlanta, Georgia, U.S.A.)

Cousin Edward Roy Patten, (b. 22nd August 1939, Atlanta, Georgia, U.S.A. d. 25th February 2005, Livonia, Michigan, U.S.A.)

and Cousin Williarn Guest (b. 2nd June 1941, Atlanta, Georgia, U.S.A.).

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Gladys Knight & the Pips were an R&B/soul musical act from Atlanta, Georgia, active from 1953 to 1989. The group was best known for their string of hit singles from 1967 to 1975, including "I Heard It Through the Grapevine" (1967) and "Midnight Train to Georgia" (1973). The longest-lived incarnation of the act featured Gladys Knight on lead vocals, with The Pips, who included her brother Merald "Bubba" Knight and their cousins Edward Patten and William Guest, as backup singers.

At the age of seven in 1952, Gladys Knight won Ted Mack's Original Amateur Hour television show contest. The following year, she, her brother Bubba, sister Brenda, and their cousins William and Eleanor Guest started a singing group called "The Pips" (named after another cousin, James "Pip" Woods). The Pips began to perform and tour, eventually replacing Brenda Knight and Eleanor Guest with cousins Langston George and Edward Patten in 1959.

The Pips scored their first hit in 1961 with "Every Beat of My Heart", a cover of a Hank Ballard & The Midnighters song. The group had recorded the song for a friend in Atlanta, who promptly sold the master to Vee-Jay Records and cut the group out of the record's profits. The Pips recorded a second version of "Every Beat" with Bobby Robinson as the producer, and the song became a #1 R&B and #6 pop hit. Shortly afterwards, Langston George left the group, and the remaining members continued as a quartet, now billed as Gladys Knight & the Pips. Typically, most of the act's recordings featured Knight's contralto on lead vocals and the three male members of the group, usually referred to as "The Pips" by themselves, providing characteristic background vocals.

After a second Vee-Jay hit, "Letter Full of Tears", in 1962, Knight quit the group to start a family with husband James Newman, giving birth to James Gaston Newman III in August of that year. Her second child Kenya Maria Newman was born in November the following year. The Pips toured on their own for two years, until Knight returned to the act in 1964 in order to support her two children.

The group developed a reputation for exciting and polished live performances that enabled them to work even without the benefit of best-selling records. Choreographer Cholly Atkins designed "fast-stepping" dance routines that became a signature of the Pips' stage presentation.

In spite of another hit with 1964's "Giving Up" (later covered by Donny Hathaway), Knight and the Pips did not achieve widespread success until 1966, after signing to Motown. While at Motown in 1968, Gladys Knight was the first person to suggest that Berry Gordy sign an up-and-coming act from Gary, Indiana called The Jackson 5.

The group's third Motown single was the Top 40 hit "Everybody Needs Love", released in 1967. Another 1967 single, "I Heard It Through the Grapevine", provided a career-making breakthrough. "Grapevine" became a #2 pop hit on the Billboard Hot 100 and a #1 R&B hit for six weeks. The record sold 2.5 million copies, and at the time was Motown's best-selling single ever [1]. Producer Norman Whitfield recorded four versions of the song with various artists for potential single release; Knight and the Pips' version was the only one that Motown chief Berry Gordy did not veto. In late 1968, "Grapevine" would become an even bigger hit for Marvin Gaye, whose version, recorded before Knight's but released a year afterwards at Whitfield's insistence, became a #1 pop hit for seven weeks.

Further hits for the group included "The Nitty Gritty" (1968), "Friendship Train" (1969), one of Norman Whitfield and Barrett Strong's "psychedelic soul" songs, the #1 R&B "If I Were Your Woman" (1970, later covered by Stephanie Mills, Shanice and Alicia Keys), and "I Don't Want To Do Wrong" (1971). Their biggest Motown hit was 1972's #1 R&B/#2 pop hit "Neither One of Us (Wants to Be the First to Say Goodbye)", which won the 1973 Grammy Award for Best Pop Vocal Performance By A Duo, Group Or Chorus.

"Neither One of Us" also happened to be one of their last Motown hits, as Knight and the Pips departed Motown for Buddah Records in 1973. While at Motown, Knight & the Pips recorded for Soul Records, a label Motown used for acts that recorded material with more of an R&B flavor than a pop flavor. On the A&E Network television program Biography, Knight stated that she and the Pips were regarded as a second-string act, and that "Diana [Ross] & the Supremes, The Temptations, and Marvin Gaye were given all the hits, while we took the leftovers." In Knight's autobiography Between Each Line of Pain and Glory: My Life Story, she stated that Diana Ross had the group removed from being The Supremes' opening act on a 1968 tour for, according to Knight, being too good.

Many of Gladys Knight and the Pips' hits in the mid-1970s were written by country songwriter Jim Weatherly. Knight and the Pips charted with five of Weatherly's songs in 1973 and 1974: "Midnight Train to Georgia," "Neither One of Us," "Where Peaceful Waters Flow," "The Best Thing That Ever Happened to Me," and "Between Her Goodbye and My Hello." Weatherly had several hits of his own, the biggest of which was "The Need to Be" in 1974, and also wrote country hits for Ray Price, Glen Campbell and Bryan White among others.

Recording for Buddah in the mid 1970s, the group hit its popular and critical peak with #1 R&B hits such as "I've Got to Use My Imagination", and "Best Thing That Ever Happened To Me". The most notable hit of their career was their only #1 pop hit, "Midnight Train to Georgia", which won the Grammy for Best R&B Performance by a Duo or Group with Vocals of 1973. The song eventually received the Grammy Hall Of Fame Award, which was established by the Recording Academy's National Trustees to honor recordings of lasting qualitative or historical significance.

Gladys Knight & the Pips' debut LP on Buddah, Imagination, was certified as a gold record. This began a string of LPs that were awarded gold status: Claudine (1974), I Feel a Song (1974) and 2nd Anniversary (1975). Other hits for Buddah included "Part-Time Love", the R&B #1 "I Feel a Song (In My Heart)," "Love Finds Its Own Way" (later sampled by Eels on their 1997 hit Susan's House) and, culled from a live recording, "The Way We Were/Try to Remember" (later sampled by the Wu Tang Clan for their 1993 single "Can It All Be So Simple").

Curtis Mayfield served as producer in 1974 when Knight and the Pips recorded the soundtrack to the motion picture Claudine, resulting in a #5 hit in the film's theme song, "On and On". The following year, the group got their own hour-long musical variety television program, The Gladys Knight & the Pips Show, which ran for four episodes on NBC as a summer-season replacement. During one installment, comedian George Carlin, seated at a piano, performed the doo-wop song "Cherry Pie", accompanied by the Pips. 






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Discography
  • Letter Full Of Tears (Fury 1961)
  • Gladys Knight And The Pips (Maxx 1964)
  • Everybody Needs Love (Soul 1967)
  • Feelin' Bluesy (Soul 1968)
  • Silk 'N' Soul (Soul 1969)
  • Nitty Gritty (Soul 1969)
  • All In a Knight's Work (Soul 1970)
  • If I Were Your Woman (Soul 1971)
  • Standing Ovation (Soul 1972)
  • Neither One Of Us (Soul 1973)
  • All I Need Is Time (Soul 1973)
  • Imagination (Buddah 1973)
  • Knight Time (Soul 1974)
  • Claudine (Buddah 1974)
  • I Feel A Song (Buddah 1974)
  • Live (1974) re-released in 1996 as "Lost Live"
  • A Little Knight Music (Soul 1975)
  • Second Anniversary (Buddah 1975)
  • Bless This House (Buddah 1976)
  • Pipe Dreams film soundtrack (Buddah 1976)
  • Still Together (Buddah 1977)
  • The One and Only (1978)
  • Gladys Knight (Columbia 1979)
  • About Love (Columbia 1980)
  • Touch (Columbia 1981)
  • That Special Time of Year (Columbia 1982)
  • Live In Beverley Hills (1983)
  • Visions (Columbia 1983)
  • Life (Columbia 1985)
  • All Our Love (MCA 1987)
  • Christmas Album (Special Music 1989)
  • Lost Live Album (Buddah 1996) re-release of "Live" (1974)
  • Live At The Roxy (1998, recorded 1980)
  • Live in Los Angeles featuring Ray Charles (2007)


Solo:

  • Miss Gladys Knight (Buddah 1978)
  • Gladys Knight (1979)
  • Good Woman (MCA 1991) 
  • Just for You (MCA 1994)
  • Many Different Roads (Many Roads 1998)
  • At Last (MCA 2001)
  • One Voice - with the Saints Unified Voices (2005)
  • A Christmas Celebration - with Saints Unified Voices (2006)
  • Before Me (2007)


The Pips:

  • At Last - The Pips (Casablanca 1979)
  • Callin' (Casablanca 1979)

Compilations:

  • Anthology
  • Legends (Gladys Knight)
  • Gladys Knight & The Pips Greatest Hits
  • Best of Gladys Knight & The Pips
  • Love Songs
  • Every Beat of My Heart (Chameleon 1989) - early work

12" and remixes:


  • 'You Bring Out the Best in Me' (12" extended mix, 1979)
  • "Love Overboard" (12" S.O.S. mix, 1987)
  • I've Got To Use My Imagination (Quentin Harris & Timmy Regisford Remix)

Miscellaneous:


  • Motown Rarities (bootleg)
  • 15 bonus tracks
  • Coke on Motown - Gladys sings Coco Cola commercials
  • Live (1983) - Bootleg
  • "1st Annual Benefit for the Congressional Black Caucus" (1975)


Friday, November 21, 2008

Marvin Gaye Discography




b. Marvin Pentz Gay Jnr., 2nd April 1939, Washington, D.C., U.S.A.

d. 1st April 1984, Los Angeles, U.S.A.

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Marvin Gaye's contribution to Black Music over the past four decades is immeasurable.

Marvin Gaye was named after his father, a minister in the Apostolic Church.

The influence of the church in his early years played a formative role in his musical career, particularly from the 70's onwards, when his songwriting shifted back and forth between mainstream and religious topics.

Marvin abandoned a place in his father's church choir and in 1957, he joined the Marquees, who recorded for Chess under the guidance of Bo Diddley.

The following year the group was taken under the wing of producer and singer Harvey Fuqua, who utilised them to reform his doo-wop outfit the Moonglows.

When Fuqua moved to Detroit in 1960, Gaye went with him.

Fuqua soon joined forces with Berry Gordy at Motown Records, and Gaye became a session drummer and vocalist for the label.

In 1961, he married Gordy's sister, Anna, and was offered a solo recording contract.

Marvin added an 'e' to his surname (the word 'gay' was taking on newer meanings and Gaye was concerned about his reputation considering the flamboyant dress sense of his father) and began his career as a jazz singer, but in 1962 he was persuaded to record R & B, and notched up his first hit single with the confident 'Stubborn Kind Of Fellow', a top 10 R & B hit.

This record set the style for the next three years, as Gaye enjoyed hits with a series of energetic, dance songs that cast him as a smooth soul figure.

He also continued to work behind the scenes at Motown, co-writing Martha And The Vandellas' hit 'Dancing In The Street', and playing drums on several early recordings by Little Stevie Wonder.

In 1965, Gaye moved into a more sophisticated soul music style.

'How Sweet It Is (To Be Loved By You)' epitomised his new direction, and it was followed by two successive R & B number 1 hits, 'I'll Be Doggone' and 'Ain't That Peculiar'.

His status as Motown's best-selling male vocalist left him free to pursue different avenues on his albums, which in 1965 included a tribute to the late Nat 'King' Cole and a collection of Broadway standards.

To capitalise on his image as a ladies' man, Motown teamed Gaye with their leading female vocalist, Mary Wells, for some romantic duets.

When Wells left Motown in 1964, Gaye recorded with Kim Weston until 1967, when she was succeeded by Tammi Terrell.

The Gaye / Terrell partnership represented the peak of the soul duet, as their voices blended sensuously on a string of hits written specifically for the duo by Ashford And Simpson.

Terrell developed a brain tumour in 1968, and collapsed onstage in Gaye's arms.

Records continued to be issued under the duo's name, although Simpson allegedly took Terrell's place on some recordings.

Through the mid-60's, Gaye allowed his duet recordings to take precedence over his solo work, but in 1968 he issued 'I Heard It Through The Grapevine' (written by Whitfield / Strong), a song originally released on Motown by Gladys Knight And The Pips, although Gaye's version had actually been recorded first. It became the label's biggest-selling record to date.

Gaye followed up with another number 1 R & B hit, 'Too Busy Thinking 'Bout My Baby', but his career was derailed by the illness and eventual death of Terrell in March 1970.

Devastated by the loss of his close friend and partner, Gaye spent most of 1970 in seclusion.

The following year, he emerged with a set of recordings that Motown at first refused to release, but which eventually formed his most successful solo album.

On 'What's Going On', a number 1 hit in 1971, and its two chart-topping follow-ups, 'Mercy Mercy Me (The Ecology)' and 'Inner City Blues', Gaye combined his spiritual beliefs with his increasing concern about poverty, discrimination and political corruption in American society.

Gaye evolved a new musical style that influenced a generation of black performers.

Built on a heavily percussive base, Gaye's arrangements mingled varying influences into his soul roots, creating an instrumental backdrop for his sensual, almost pleading vocals.

These three singles were all contained on 'What's Going On', a masterpiece on which every track contributed to the overall message.

Stevie Wonder and Smokey Robinson say that this is their favourite 'all time' LP.

Gaye composed the soundtrack to the 'blaxploitation' thriller 'Trouble Man'.

His primarily instrumental score highlighted his interest in jazz, while the title song gave him with another hit single.

Gaye's next project saw him shifting his attention from the political to the sexual with 'Let's Get It On'.

Its explicit sexuality marked a major change in Gaye's career, as he began to use cocaine more and more regularly, he became obsessed with his personal life, and rarely let the outside world figure in his work.

Meanwhile, he continued to let Motown market him in a traditional fashion by agreeing to collaborate with Diana Ross on a sensuous album of duets in 1973, although the two singers allegedly did not actually meet during the recording of the project.

The break-up of his marriage to Anna Gordy in 1975 delayed work on his next album.

'I Want You' followed to critical acclaim in 1976.

The album was written by Leon Ware, who had, originally, intended recording the material himself, but was persuaded by Marvin to allow him to record the set.

The title track was another number 1 hit on the soul charts, as was his 1977 disco outing, 'Got To Give It Up'.

Drug problems and tax demands interrupted his career, and in 1978 he fled the US mainland to Hawaii in a vain attempt to salvage his second marriage.

Gaye devoted the next year to the 'Here My Dear' double album, a bitter commentary on his relationship with his first wife.

Its title was ironic.

He had been ordered to give all royalties from the project to Anna as part of their divorce settlement.

With this crisis behind him, Gaye began work on an album to be called 'Lover Man', but he cancelled its release after the lukewarm sales of its initial single, the sharply self-mocking 'Ego-Tripping Out', which he had presented as a duet between the warring sides of his nature.

In 1980, under increasing pressure from the Internal Revenue Service, Gaye moved to Europe where he began work on an ambitious concept album, 'In My Lifetime'.

When it emerged in 1980, Gaye accused Motown of remixing and editing the album without his consent, of removing a vital question-mark from the title, and of changing his original cover artwork.

The relationship between artist and record company had been shattered, and Gaye left Motown for Columbia in 1982.

Persistent reports of his erratic personal conduct and reliance on cocaine fuelled pessimism about his future career, but instead he re-emerged in 1982 with a new single, 'Sexual Healing', which combined his passionate soul vocals with a contemporary slow-dance backing.

The subsequent album, 'Midnight Love', offered no equal surprises, but the success of the single seemed to herald a new era in Gaye's music.

He returned to the USA, where he took up residence at his parents home.

The intensity of his cocaine addiction made it impossible for him to work on another album, and he fell into a prolonged bout of depression.

He repeatedly announced his wish to commit suicide in the early weeks of 1984, and his abrupt shifts of mood brought him into heated conflict with his father, rekindling animosity that had been there since Gaye's childhood.

On 1st April 1984, another violent disagreement provoked Marvin Gay Snr. to shoot his son dead, an awful end to the life of one of soul music's premier performers.

Motown and Columbia collaborated to produce two albums based on Gaye's unfinished recordings.

'Dream Of A Lifetime' mixed spiritual ballads from the early 70's with sexually explicit funk songs from a decade later, while 'Romantically Yours' offered a different reading of Gaye's original intentions in 1979 to record an album of big band ballads.

In 1997, the album of 'big ballads' was issued under the title of 'Vulnerable'.

The album was said to Marvin's favourite record from his long and distinguished resume.











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COMPILATIONS

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Sunday, November 16, 2008

Blax- Jive's Basement: The Crates


These are the crates. A place where I will be dumping links for you to search and download. No user comments will be allowed mainly because I want to keep this clean from conjestion. Keep a check every now again to see what has been put in the basement. Enjoy.

The Ohio Players Discography




The Ohio Players were among the top funk bands of the mid-'70s. Emerging from Dayton, Ohio in 1959, the group was originally dubbed the Ohio Untouchables, and initially comprised singer/guitarist Robert Ward, bassist Marshall "Rock" Jones, saxophonist/guitarist Clarence "Satch" Satchell, drummer Cornelius Johnson, and trumpeter/trombonist Ralph "Pee Wee" Middlebrooks. In late 1961, a relative of Ward's founded the Detroit, Michigan-based Lupine Records, and the group traveled north to the Motor City to back the Falcons on their hit "I Found a Love"; the Ohio Untouchables soon made their headlining debut with "Love Is Amazing," but when Ward subsequently exited for a solo career, the group essentially disbanded.

At that point, the nucleus of Middlebrooks, Jones, and newly added guitarist Leroy "Sugarfoot" Bonner returned to Dayton; there they recruited saxophonist Andrew Noland and drummer Gary Webster, the latter a somewhat elusive figure whose true involvement in the group's history has never been definitively answered — some sources credit him as a founding Untouchable, others even as the band's early leader. In any case, by 1967, with the subsequent addition of singers Bobby Lee Fears and Dutch Robinson, the newly rechristened Ohio Players were signed as the house band for the New York City-based Compass Records, backing singer Helena Ferguson on her lone hit, "Where Is the Party," before issuing their solo debut, "Trespassin'," which hit the R&B charts in early 1968.

Although the Players' trademark bottom-heavy, horn-driven sound was already blossoming, their follow-up, "It's a Cryin' Shame," flopped, and as Compass teetered on the brink of bankruptcy they exited the label. (Their early Compass sides were later packaged as First Impressions.) The Players then landed on Capitol, where 1969's "Here Today, Gone Tomorrow" was a minor hit; an LP, Observations in Time, soon followed, with covers of "Summertime" and "Over the Rainbow". In 1970 the group disbanded, however; Fears and Robinson both mounted solo careers, while the remaining members again decamped to Dayton, eventually re-forming with keyboardist and lead singer Walter "Junie" Morrison, trumpeter Bruce Napier, and trombonist Marvin Pierce.

Influenced by the funk of Sly & the Family Stone, the new Ohio Players lineup made their debut with the single "Pain," issued on the small local label Rubber Town Sounds; it was soon picked up for distribution by the Detroit-based Westbound label, reaching the R&B Top 40 in late 1971. An LP, also titled Pain, appeared that same year, and was followed in 1972 by Pleasure, which launched the hit "Funky Worm", their first number-one on the R&B chart. Ecstacy appeared in 1973, and after 1974's Climax, the Players signed to Mercury; the label change also heralded yet more lineup changes, with keyboardist Billy Beck replacing Morrison (who left to go solo and would later be the lead voice on the Funkadelic hit One Nation Under A Groove) and drummer Jimmy "Diamond" Williams taking over for Webster.

At Mercury, the Ohio Players enjoyed their greatest success; not only did they become known for their music, but also their provocative LP covers, a tradition begun during their Westbound tenure. Their 1974 Mercury debut, Skin Tight, was their first big hit, launching the hit title track as well as "Jive Turkey." Its follow-up, Fire, remains one of the Players' best known hits, topping the pop charts on the strength of its title cut, itself a number one hit; "I Want to Be Free," one of the band's few attempts at social commentary, was also highly successful. 1975's Honey — which featured perhaps the Players' most controversial cover to date — was another hit, generating the chart-topping "Love Rollercoaster" in addition to the hits "Sweet Sticky Thing" and "Fopp."

"Who'd She Coo?" from 1976's Contradiction, was the Players' last number one R&B hit; "O-H-I-O," from 1977's Angel, was their last major hit on any chart, and as the 1970s drew to a close, the band's success declined. 1979's Jass-Ay-Lay-Dee was their final Mercury effort, and upon signing to Arista, the Players returned with Everybody Up, followed by a pair of dismal releases on Boardwalk, 1981's Tenderness and 1982's Ouch! After 1984's Graduation, four years passed prior to the release of their next effort, Back; no new material was forthcoming, although various lineups continued performing live well into the following decade. Founding member "Satch" Satchell died in late 1995, while "Pee Wee" Middlebrooks died in late 1996.








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Album Discography

Compilations

Associated


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