Harlem River Drive  Eddie Palmieri  Roulette Records  With Charlie Palmieri on Organ and Jimmy Norman, Vocals.  (1971)  Seminal early mix of latin, salsa, soul, funk and jazz.  Have a listen to The 01-harlem-river-drive-theme.

(34 votes, average: 4.29 out of 5)

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Sound-O-Rama Presents The Windy City Four  “Don’t Let the Devil Ride”  This is a very rare soul-gospel lp that goes for hundreds of dollars when it seldomly comes on the market.  For me the value is in the cover – I’m a sucker for a hot girl in a devil costume.

(36 votes, average: 4.58 out of 5)

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Kool and the Gang “Live at the Sex Machine  Blue Elephant Records

(84 votes, average: 4.19 out of 5)

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Major Lance “Um, Um, Um, Um, Um, Um” b/w “Sweet Music”  Okeh Records (1964)  Written by Curtis Mayfield.  This single was the follow up to the 1963 hit “Monkey Time,” (also written by Mayfield).

In 1978, Major Lance was convicted of selling cocaine and he spent the next four years in prison.  Upon his release, he began playing the Beach Music circuit on the Carolina coast until 1987 when a heart attack halted his career again.  In 1994, he performed at the Chicago Blues Festival, a show which turned out to be his last.  Major Lance died of heart failure on 3rd September 1994, at the age of 55.

(22 votes, average: 3.36 out of 5)

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Etta James Rocks the House.  Argo Records.  An incredible live show from the New Era Club in Nashville, Tenn. in 1963.  Features guitarist David T. Walker fronting a killer band. This album rivals B.B. King Live at the Regal for best live blues record ever. Etta James sings so tough, so ballsy, I can’t think of another singer to compare her to. She almost makes even Wilson Pickett and James Brown sound like wimps. On a couple of songs, she does some scatting you have to hear to believe.  Besides the incredible singing, the other thing that makes this album a joy is the audience. Their excitement is palpable. On a couple of songs, Etta gets a thrilling call and response going with them, and their energy seems to feed her. The album is the next best thing to Etta James in person. (bluemamma) 1. Something’s Got A Hold On Me 2. Baby What You Want Me To Do 3. What’d I Say 4. Money (That’s What I Want) 5. Seven Day Fool 6. Sweet Little Angel 7. Ooh Poo Pah Doo 8. Woke Up This Morning 9. Ain’t That Lovin’ You Baby 10. All I Could Do Is Cry 11. I Just Want To Make Love To You

(33 votes, average: 4.00 out of 5)

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“Get Down with the Philly Sound”  Black Beat 4  Epic Records

(30 votes, average: 3.93 out of 5)

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“At the Party”  Hector Rivera on Barry Records.  When you talk about Latin Soul, this record always comes up as one of the ten best. This was a HUGE hit in New York and almost nowhere else in 1966.

“Bring your records everybody / don’t you be late to the party / don’t you be late, ’cause I can’t wait / ’cause I’m anxious to get started / time’s a wasting, so get moving / we’ll be dancing, dancing and a-grooving…”

(20 votes, average: 3.30 out of 5)

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The Fabulous Miracles   TAMLA Records  (1963) “You’ve Really Got A Hold On Me,” “A Love She Can Count On,” etc.  Cover Design: Barni Wright  Produced by: Smokey Robinson   Published by: JOBETE BMI

Liner Notes:

THE “MIRACLES” HAVE STYLE. THEY HAVE AN INDEFINABLE WAY OF DOING A NUMBER THAT MAKES YOU KNOW IT’S RIGHT. WHETHER IT’S A SWINGING ALL-OUT PRODUCTION NUMBER OR AN INTIMATE BALLAD, THE “MIRACLES” HAVE ACQUIRED THE PROFESSIONAL POLISH TO BRING ACROSS THE MOOD AND THE MESSAGE. THE “SOUND” OF THE “MIRACLES” IS THE SOUND OF SUCCESS. THE DYNAMIC VOCAL INTER-REACTIONS OF ROBERT ROGERS, TENOR, RONALD WHITE, BARITONE, PETE MOORE, BASS, BILL “SMOKEY” ROBINSON, LEAD AND CLAUDETTE ROBINSON, QUEEN OF RHYTHM, WITH MARV TARPLIN, THE GROUP’S GUITARIST. THE HOUSE LIGHTS DIM, IN THE GOLDEN GLOW OF A SINGLE SPOTLIGHT STANDS A UNIQUE COMBINATION OF HIGHLY COORDINATED ENTERTAINERS, AND THE AUDIENCES STILLS. THE MOMENT COMES WHEN THE STYLE OF THE “MIRACLES” IS AT ITS FINEST. THEIR STYLE IS REALLY A METHOD. IT’S A METHOD OF TELLING A STORY IN PRECISE, WELL-PLANNED, WELL-EXECUTED ARRANGEMENTS THAT DISPLAY THEIR CONSIDERABLE TECHNICAL ABILITIES . . . ABILITIES MOLDED OVER MANY SUCCESSFUL ENGAGEMENTS AND RECORDINGS. PRECISION HAS GAINED FOR THE GROUP A WELL-DESERVED FAME. THE HALLMARK OF THEIR STYLE IS THE CLOSE, INSIDE-TIGHT, HARMONY OF VOICES TRAINED FROM WORKING TOGETHER IN SUCH REVUES AS THE “MOTOR TOWN SPECIAL” AND ON SUCH RECORDING HITS AS “I’VE BEEN GOOD TO YO”, “YOU’VE REALLY GOT A HOLD ON ME”, AND “A LOVE SHE CAN COUNT ON”. THEY PRESENT PRECISION, PERFORMANCE, AND PROMISE . . . IN SHORT, THE “MIRACLES” HAVE STYLE.

(18 votes, average: 3.56 out of 5)

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“Road Runner” Jr. Walker & The All Stars On Motown’s Soul subsidiary label. (1966) A stone cooker from Jr. Walker — the kind of hard-driving soul that made his 60s Motown work a key link between the Detroit sound of the time, and R&B sounds of earlier years! Jr’s soulful sax is right up in the mix on most numbers — and the overall sound is nicely freewheeling and almost spontaneous — almost a Motown studio jam at times, with vocals and instruments dancing together in joyous formation! Most tracks are instrumentals, but many also have some sort of vocal chorus — and titles include “Anyway You Wanta”, “Pucker Up Buttercup”, “Twist Lackawanna”, “San Ho Zay”, “Money”, “Last Call”, “Ame Cherie”, “Mutiny”, and “Road Runner”. – Dusty Grooves

(20 votes, average: 2.50 out of 5)

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“Sweet Soul Music”  Vol. 6   Top Hits by Charlie & White Cloud Orchestra  Including “Hawaii Five-O”

(41 votes, average: 3.51 out of 5)

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