COASTERS - COAST ALONG WITH THE COASTERS (ATCO 1962) Remastered + 12 bonus

With the songwriting and production team of Jerry Leiber and Mike Stoller behind them, the Coasters were easily one of the most interesting vocal groups of the late '50s and early '60s, and their singles always featured inventive arrangements and great sound, managing to deliver gritty R&B while simultaneously wooing a mainstream audience and climbing the pop charts. Coast Along with the Coasters collects the group's Atco singles from 1959, 1960, and 1961, and was originally released on LP in 1962. Most of the songs are Leiber & Stoller compositions, naturally, but the group also covers material written by Bobby Darin ("Wait a Minute"), Doc Pomus ("The Snake & the Bookworm"), and Willie Dixon ("My Babe") in this set, and the continually fresh-sounding vocal and instrumental arrangements give the album a more cohesive, thought-out feel than most LPs released at the time. Among the highlights are the shuffle rock of the opener, "(Ain't That) Just Like Me," the social statement of "What About Us" (which contrasts the haves with the have-nots), and the truly bizarre "Run Red Run," which tells the story of a beer-drinking, card-playing monkey who tries to shoot his keeper for cheating at poker. Gotta love these guys. ~ Steve Leggett
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The bonus tracks on this CD mop up the remainder of tracks (1961-62) up to their penultimate Atco session on 8 September 1965. ~ Georgie H. Here

WALTER WANDERLEY - BATUCADA (VERVE 1967) Jap mastering cardboard sleeve

Fortunately, Walter Wanderley sticks mostly to Brazilian standards on Batucada, and though his lounge-organ sound occasionally veers close to the edge where cool jazz becomes easy listening, the album is well-recorded. His organ is occasionally more reminiscent of a hockey rink accompanist than a jazz improviser, but he slips and slides around on the keys and employs an endearing and quintessentially Brazilian less-is-more approach. Brazilian mastermind Marcos Valle guests on guitar, and percussion is well-handled by Paulinho, Dom Um Romao, and Lu Lu Ferreira. Talya Ferro's vocals on "Wave" are solidly in a jazz vein, though rather transparently postured to captivate an American crossover audience. Obviously, an album like Batucada isn't a prime example of Brazilian pop, but fans of Wanderley's work on Astrud Gilberto's A Certain Smile, A Certain Sadness will enjoy this as background music.[allmusic]
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ASTRUD GILBERTO/WALTER WANDERLEY - A CERTAIN SMILE... (VERVE 1966) Jap mastering cardboard sleeve

When Astrud Gilberto (wife to the great singer and guitarist Joao Gilberto) sang the now-classic "The Girl from Ipanema" in 1964, she'd had no formal vocal training. It mattered little, as her laid-back sensuality overflowed through the song and propelled her on to several more musical projects. This 1966 collection with the small combo of organist Walt Wanderley, guitarist Joao Gilberto, bassist Jose Marino, and Claudio Slon on drums features Gilberto's reposed voice in such a seductive, warm light, one thinks they've died and gone to drink martinis in a Rio lounge. The album includes a mix of classic bossa nova tunes ("So Nice" and "Call Me") sung in both English and Portuguese. Astrud was as cool as a cucumber and her untrained, nonchalant grace gave her singing its unique charisma. It wasn't until the late 1980s that the world heard this sort of passive, detached persona again in the bewitching vocals of Cesaria Evora, proving once again that style and delivery are just as important as distinct vocal tone. Astrud Gilberto taught us great singers aren't made on a voice alone. --Karen K. Hugg
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ANN PEEBLES - STRAIGHT FROM THE HEART (HI 1972) Jap mastering cardboard sleeve

One of the greatest soul records of the 70’s by a woman.
A diminutive singer with a powerful voice and an even stronger attitude, Ann Peebles was one of the artists who defined Willie Mitchell’s legendary Memphis soul label Hi Records, along with Al Green and, later, O.V. Wright. Easily the best female singer in the Hi stable, Peebles ranked among the finest deep Southern soul singers of the decade.
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"A lean, tough set that was not only a triumph for Peebles, but illustrated how the Hi label had surpassed its crosstown Stax rival for quality Memphis soul in the early '70s. The guitars are spare, funky, and bluesy, the horn section punchy, and the material far earthier and down-home than the increasingly formulaic grooves at Stax. There were three modest R&B hits on the album ("Slipped, Tripped and Fell in Love," "I Feel Like Breaking Up Somebody's Home," "Somebody's on Your Case"), much of which was penned by Peebles or her husband Don Bryant. Peebles' vocals were convincingly biting, and she never, unlike many other singers of the era, tried too hard for her own good. The main flaw of the record is its length (26 minutes), which was short even by early-'70s standards." [All Music]
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STYLISTICS - STYLISTICS (H&L 1971) Jap mastering cardboard sleeve

The debut album of the Stylistics is an outstanding example of the classic R&B music of the early 70's. There are 5 essential songs by the group on this album - "Stop, Look, Listen (to Your Heart), "Betcha By Golly Wow (full length version), "You're a Big Girl Now", "You Are Everything", and the simply amazing full length version of "People Make the World Go Round". Even the filler is very good, "Country Living" and "Ebony Eyes" are upbeat cuts that are similar to "Rockin' Roll Baby". "Point of No Return" is a midtempo song that will keep feet tapping and "If I Love You" is a solid love song that might have been a hit in its own right had it not been on an album with so many other great songs. "The Stylistics" is essential listening ("Round 2" is also a 5 star record) and is absolute proof of Thom Bell's genius.
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The Stylistics saw their first song, 1971's "You're a Big Girl Now", reach success on the U.S. Billboard R&B chart peaking at #7, whilst it peaked at #79 on the Billboard Hot 100. However, their second release, "Stop, Look, Listen (To Your Heart)", peaked at #39 (U.S. Pop) and #6 (U.S. R&B). The song was sung by the Stylistics' falsetto frontman, Russell Thompkins, Jr., and was produced by Thom Bell.
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LITTLE JOHNNY TAYLOR - OPEN HOUSE IN MY HOUSE (RONN 1973) Jap mastering cardboard sleeve + 4 bonus

Some folks still get them mixed up, so to get it straight from the outset, Little Johnny Taylor was best known for his scorching slow blues smashes "Part Time Love" (for Bay Area-based Galaxy Records in 1963) and 1971's "Everybody Knows About My Good Thing" for Ronn Records in Shreveport, LA. This Johnny Taylor was definitely not the suave Sam Cooke protege who blitzed the charts with "Who's Making Love" for Stax in 1968; that's Johnnie Taylor, who added to the confusion by covering "Part Time Love" for Stax. Another similarity between the two Taylors: both hailed from strong gospel backgrounds.
Little Johnny came to Los Angeles in 1950 and did a stint with the Mighty Clouds of Joy before going secular. Influenced by Little Willie John, he debuted as an R&B artist with a pair of 45s for Hunter Hancock's Swingin' logo, but his career didn't soar until he inked a pact with Fantasy's Galaxy subsidiary in 1963 (where he benefited from crisp production by Cliff Goldsmith and Ray Shanklin's arrangements).
The gliding mid-tempo blues "You'll Need Another Favor," firmly in a Bobby Bland mode, was Taylor's first chart item. He followed it up with the tortured R&B chart-topper "Part Time Love," which found him testifying in gospel-fired style over Arthur Wright's biting guitar and a grinding, horn-leavened downbeat groove. The singer also did fairly well with "Since I Found a New Love" in 1964 and "Zig Zag Lightning" in 1966.
Taylor's tenure at Stan Lewis' Ronn imprint elicited the slow blues smash "Everybody Knows About My Good Thing" in 1971, and a similarly witty hit follow-up, "Open House at My House," the next year (both were covered later by Z.Z. Hill for Malaco). While at Ronn, Little Johnny cut some duets with yet another Taylor, this one named Ted (no, they weren't related either). Though he recorded only sparingly during the 1980s and 1990s, he remained an active performer until his death in 2002. ~ Bill Dahl, All Music Guide
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LITTLE JOHNNY TAYLOR - EVERYBODY KNOWS ABOUT MY GOOD THING (RONN 1970) Jap mastering cardboard sleeve + 4 bonus

Little Johnny Taylor (born Johnny Lamont Merrett, 11 February 1943, Gregory, Arkansas – 17 May 2002) was an American blues and soul singer who made recordings throughout the 1960s and 1970s, and continued public performances through the 1980s and 1990s.
He is frequently confused with his contemporary and near namesake Johnnie Taylor, especially since the latter made a cover version of the song that Little Johnny Taylor was most famous for, "Part Time Love" (1963), and the fact that both men began their careers as gospel singers.
Little Johnny moved to Los Angeles in 1950, and sang with the Mighty Clouds of Joy before moving into secular music. Influenced by Little Willie John, he first recorded as an R&B artist for the Swingin' label.
However, he did not achieve major success until signing for San Francisco-based Fantasy Records' subsidiary label, Galaxy. His first hit was the mid-tempo blues "You'll Need Another Favor," sung in the style of Bobby Bland, with arrangement by Ray Shanklin and produced by Cliff Goldsmith. The follow-up, "Part Time Love", became his biggest hit, reaching # 1 in the R&B chart, and # 19 on the pop chart, in October 1963. The record's success owed much to Taylor's gospel-style singing, Arthur Wright's guitar and a horn-leavened downbeat groove. However, follow-ups on the Galaxy label were much less successful.
By 1971, Taylor had moved to the Ronn label subsidiary of Jewel Records in Shreveport, Louisiana, where he had his second R&B top ten hit with "Everybody Knows About My Good Thing" . The following year, he had another hit with "Open House at My House". While at Ronn, Little Johnny also recorded some duets with Ted Taylor (also unrelated).
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TED TAYLOR - TAYLOR MADE (RONN 1971) Jap mastering cardboard sleeve + 4 bonus

A SHORT BIO...
Soul-blues singer Ted Taylor unleashed his stratospheric, falsetto-driven voice on a wide variety of material during the 1950s, '60s, and '70s, his gospel heritage never far from the surface. Taylor first entered the studio as a member of the Cadets and Jacks, a Los Angeles R&B vocal group with two names that recorded for Modern. By the late '50s, Taylor was signed to Ebb, and a myriad of other imprints soon followed (notably Duke, where he waxed his first version of the sugary ballad "Be Ever Wonderful"), Okeh (his sides for the Columbia subsidiary were done in Chicago and Nashville), and Ronn, where he spent nearly a decade. A car wreck claimed his life in 1987.
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"A REALLY GREAT ALBUM! DON'T MISS IT!"
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JON HENDRICKS - SALUD! JOAO GILBERTO (REPRISE 1963) Jap mastering cardboard sleeve

Jon Hendricks idolizes Joao Gilberto (he has spoken fondly of their first meeting where they scatted to each other before ever speaking a word), and he wasted little time putting together a tribute album at the height of the first bossa nova wave. It ought to come as no surprise that he would display total sympathy with the bossa nova manner here, singing softly and smoothly -- and Hendricks' English wordplay is quite faithful to the original tunes and meanings of the Portuguese lyrics, in contrast to his usual whimsical work with jazz improvisations. Hendricks is particularly winning, and irresistibly swinging on the rare occasions ("Voce E Eu," "Samba Da Minha Terra") when he scats to the Brazilian rhythm; he should have done more of that here. But then, his versions of Gilberto's repertoire are carefully based on Gilberto's early EMI/Odeon recordings (now available on The Legendary Joao Gilberto); even Antonio Carlos Jobim's string and wind charts for the originals are preserved by adapter Johnny Mandel. Alas, the only Hendricks lyric that has become a universal standard is Jobim's "Chega de Saudade" ("No More Blues"). As Hendricks' only album-length encounter with bossa nova, Salud! Joao Gilberto Originator of the Bossa Nova is essential.[allmusic]
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LONNIE SMITH - MOVE YOUR HAND (BLUE NOTE 1969) Jap mastering cardboard sleeve

"REPOST"
Anyone that has listened to Lonnie Smith should know that Dr. Smith is at his best when performing the slow and grinding ilk of funk. While his album "Live at Club Mozambique" is a great and funky disc, it tends towards the faster and more energized groves; it only gives us a taste of the grinding slow stuff. This album, however, gives us a lot more of the slow grinders that Dr. Smith is rightly known for.
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Just as Lou Donaldson's albums broke loose of many blues cliches a few years before, introducing a new funky boogaloo rhythm into Jazz, Lonnie breaks free of the boogaloo funk cliche's of the '60s and absorbs the funk of JB and then contemporary black radio. In fact, this is probably the least dated B3 CD of that era. He even does a bit of singing visa vis the enormously funky "Move Your Hand" which could of just as easily been taken up by George Clinton and P-Funk.
Cool, Funky and Groovin', this album along with Jimmy Smith's ROOT DOWN and Lou Donaldson's Midnight Creeper are definitely top picks for the true Hammond B-3 funkateer.
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Lonnie has that essential groove that remains through the whole album. Right from the first track you realise you are on one of Blue notes very special albums. "Charlie Brown" sets the scene while "Layin in the Cut" builds up the pace to an awe inspiring state on one of the greatest groove organ tracks I have ever heard. On the Title track "Move Your Hand" Lonnie matches his organ brilliance with unique heart felt vocals. On "Sunshine Superman" Lonnie continues the saga. The man is backed by awesome performances on guitar by Larry Mcgee and Rudy Jones on Tenor Saxaphone as well as many other musicians also giving excellent performances. This is an album that always remains by the stereo, mainly in it. You will always return to it. This is the exact music you would want to listen to in your favourite bar with dim lights a groovy armosphere and your favourite drink in your hand...[net]

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