THE IMPRESSIONS - THE IMPRESSIONS (ABC-PARAMOUNT 1963) Jap mastering cardboard sleeve + 1 bonus

The first Impressions LP was one of the finest debuts of any '60s soul act, though it excelled in part because it featured a backlog of chart singles (five had charted previously, and "It's All Right" became the sixth after it was quickly added to the original program). Curtis Mayfield wrote all but two of the songs, stretching back to 1961's "Gypsy Woman" (which he'd actually written at the age of 14) but mostly including strong 1962-1963 material like the hit "Little Young Lover," "Grow Closer Together," "I'm the One Who Loves You," and "Minstrel and Queen." "It's All Right" was easily the best song here, accented by the group's sublime harmonies, arranger Johnny Pate's swinging horn section, and Mayfield's precise guitar work. The group also showed an unsurprising reverence for classic doo wop, beautifully remaking "Never Let Me Go," a Top Ten R&B hit for Johnny Ace in 1954. Even the closer, a tossed-off novelty called "Twist and Limbo," is an excellent performance and a genuinely fun song. Mayfield's disarmingly brilliant songs were really the only necessary element toward making The Impressions a strong LP, but the mesmerizing vocals and sympathetic arrangements made for a classic work of Chicago soul.[allmusic]
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THE IMPRESSIONS - RIDIN' HIGH (ABC-PARAMOUNT 1966) Jap mastering cardboard sleeve

The Impressions were certainly dominating the charts and making wonderful albums in the '60s, and this one didn't break the string. They would depart from ABC in two years, but at this point there were no concerns, even though they didn't match the previous years' glittering array of hits. But their singing was no less emphatic or compelling, nor had Mayfield's writing, productions, or arrangements slipped.
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A sudden jump to the mainstream of mid-60s soul, with far more prominent drumming ("Right On Time"), more piano, swinging horn fills, vibes, and upbeat, enthusiastic tunes. The rousing "Gotta Get Away," for example, recalls Stax artists like Sam & Dave. But there's still plenty of the super-smooth vocalizing their fans expected - "I Need You" is perhaps the best example - and Mayfield gets in a guitar solo on "Too Slow." A lot of the song material is routine, though: "I Need To Belong To Someone" is nearly a note-for-note copy of "People Get Ready." There's only one non-Mayfield tune: the horrific standard "Let It Be Me." Again, produced by Pate.

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THE IMPRESSIONS - WE 'RE A WINNER (ABC 1968) Jap mastering cardboard sleeve + 2 bonus

While the title track was one of Mayfield's classic civil rights-conscious anthems, most of this album was actually dedicated to standard romantic themes. This wasn't necessarily a drawback; almost every cut was a quality Mayfield original, and the harmonies and vocal interplay among the group were outstanding. "Nothing Can Stop Me," awhich had been a hit in 1965 for Gene Chandler, was an uptempo highlight, and "Little Brown Boy" showed more of the African-American pride that had been explored in "We're a Winner," albeit in a more tender ballad mode. The closing cover of "Up Up and Away" is misplaced, but overall this is one of the better Impressions albums to pick up if you want more than what's found on the greatest-hits collections, with excellent production and Johnny Pate arrangements throughout.[allmusic]
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BILLY PRESTON - THE MOST EXCITING ORGAN EVER (VEE JAY 1964) Jap mastering cardboard sleeve

It's advantageous to get an early start on your chosen career, but Billy Preston took the concept to extremes. By age ten he was playing keyboards with gospel diva Mahalia Jackson, and two years later, in 1958, he was featured in Hollywood's film bio of W.C. Handy, St. Louis Blues, as young Handy himself. Preston was a prodigy on organ and piano, recording during the early '60s for Vee-Jay and touring with Little Richard. He was a loose-limbed regular on the mid-'60s ABC TV series Shindig, proving his talent as both vocalist and pianist, and he built an enviable reputation as a session musician, even backing the Beatles on their Let It Be album.
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As the late John Holmes would tell you, it's damn near impossible to live up to a title as lofty as The Most Exciting Organ Ever, but Billy Preston does his best -- the raw physical power of Preston's performances are matched only by the imagination and virtuosity of his phrasing. The music bridges the sacred and the profane, fusing the deep, bold sound of the church with the razzle-dazzle of R&B. While Preston's innovative use of bass pedals lends the music its pendulous bottom, his melodies defy gravity, soaring and dive bombing like birds of prey in flight.[allmusic]
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A REALLY GREAT ALBUM!! DON'T MISS IT!
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BILLY PRESTON - EARLY HITS OF 1965 (VEE-JAY 1965) Jap mastering cardboard sleeve

10 year old Billy Preston began playing keyboards for gospel big names like Mahalia Jackson, Andrae Crouch and James Cleveland. Two years later, he made his feature film acting debut in the W.C. Handy biographical movie “St. Louis Blues” (1958). Regarded a bit as a child genius on piano and organ, he toured with Little Richard and Ray Charles in the 1960s and appeared regularly on the ABC TV musical variety series “Shindig,” where as part of the show's house band he demonstrated his talent as a pianist and singer in the mid 1960s. He also played organ on Sam Cooke's album “Night Beat” (1963).
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Preston eventually signed with Vee-Jay Records and released his first album, “The Most Exciting Organ Ever,” on August 20, 1965, weeks before his 19th birthday. The fully instrumental album was produced by Steve Douglas. Later that same year, he launched a compilation album titled “Early Hits of '65.” His sophomore album, “The Wildest Organ in Town,” followed in March 1966 and was his first record with Capitol Records. It was arranged by Sly Stone and again produced by Steve Douglas. Preston took on co-producing duties for his subsequent album, “Club Meeting,” which was released on March 30, 1967, before he left Capitol and joined Apple Records in the late 1960s.
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Early Hits of'65 released in 1965 & recompiled singles and hits from this year to play with soul arrangements. The album was recorded in the same sessions of The Most Exciting Organ Ever [allmusic]
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