Willie Bobo – Bobo Motion (1967 Verve V6-8699)

Verve Records ‎1967 – V6-8699

notes:

Willie Bobo continued his successful fusion of Latin rhythms,
 soul jazz, and boogaloo with Bobo Motion, released on
 Verve Records under catalog number V6-8699. The album
 showcases Bobo's signature style, combining Afro-Cuban percussion,
 jazz improvisation, funky basslines, and danceable
 grooves that defined the late 1960s Latin jazz scene.
At a time when Latin music was increasingly influencing American jazz
 and popular music, Bobo Motion stood out for its energetic 
arrangements and crossover appeal. The album remains a 
favorite among vinyl collectors, DJs, and fans of classic Latin soul.

credits:

Musicians    
Willie Bobo — timbales, percussion
Clarence 'Sonny' Henry — guitar, arranger
Bert Keyes — arranger
Additional musicians uncredited on the original Verve LP. 
rhythm guitar— congas
Melvin Lastie — cornet
Producer    Pete Spargo
Producer    Teddy Reig

Recording Information
Date    Location    Tracks
July 20, 1967    New York City    "Cute", "Tuxedo Junction", "Black Coffee", 
"Night Walk", "La Bamba"
July 27, 1967    Van Gelder Studio, Englewood Cliffs, New Jersey    
"Up, Up & Away", "Ain't That Right", "Midnight Sun", "I Don't Know", "Evil Ways", 
"Show Me"
Van Gelder Studio — July 27, 1967 session.
New York City studio (not specifically identified in surviving documentation)
 — July 20, 1967 session.

tracklist:

A1        Up-up & Away
Written-By – Webb*
    1:56
A2        Ain't That Right
Written-By – Sterling*
    2:35
A3        Midnight Sun
Written-By – Mercer*, Hampton*, Burke*
    2:08
A4        Cute
Written-By – Hefti*
    1:52
A5        I Don't Know
Written-By – Henry*
    2:32
A6        Tuxedo Junction
Written-By – Feyne*, Hawkins*, Dash*, Johnson*
    2:15
B1        Evil Ways
Written-By – Henry*
    2:40
B2        Show Me
Written-By – Tex*
    2:15
B3        Black Coffee
Written-By – Burke*, Webster*
    2:42
B4        Night Walk
Written-By – Huffsteter*
    3:05
B5        La Bamba
Written-By – Keyes*, Corea*
    2:07

 

 

 

link 

 

 

 

Wes Montgomery – California Dreaming (Verve Records V6-8672)

Verve Records 1966 ‎– V6-8672

notes:

Few jazz guitarists have left a legacy as enduring as Wes Montgomery. 
Released in 1966 on Verve Records as catalog number V6-8672, 
California Dreaming stands as one of the most recognizable albums 
from Montgomery's later career. The record showcases his signature
octave technique while embracing lush orchestral arrangements and
 contemporary pop melodies that helped introduce jazz to a broader audience.
Produced during a transformative period in American music, 
California Dreaming blends sophisticated jazz improvisation with
 accessible interpretations of popular songs from the mid-1960s. 
The result is an album that remains a favorite among jazz enthusiasts,
 vinyl collectors, and guitar players alike.

Crédits

Personnel (Musicians)
Leader
Wes Montgomery – guitar
Brass
Mel Davis – trumpet
Bernie Glow – trumpet
Jimmy Nottingham – trumpet
Wayne Andre – trombone
John Messner – trombone
Bill Watrous – trombone
James Buffington – French horn
Don Butterfield – tuba
Woodwinds
Ray Beckenstein – alto saxophone, flute, piccolo
Stan Webb – alto sax, baritone sax, English horn, clarinet
Walter Kane – clarinet, bass clarinet, bassoon, tenor saxophone
Rhythm Section
Herbie Hancock – piano
Bucky Pizzarelli – guitar
Al Casamenti – guitar
Richard Davis – bass
Grady Tate – drums/percussion
Ray Barretto – congas/percussion
Jack Jennings – vibraphone, percussion effects
Arranger / Conductor
Don Sebesky – arrangements and orchestra direction
Session Breakdown
14 September 1966
"California Dreaming"
(full orchestra personnel)
15 September 1966
"Green Peppers"
"South of the Border"
(full orchestra personnel)
16 September 1966
"Oh You Crazy Moon"
"More, More Amor"
"Winds of Barcelona"
"Sun Down"
"Mr. Walker"
"Sunny"
"Without You"

Producer    Creed Taylor
Arranger / Conductor    Don Sebesky
Recording Engineer    Rudy Van Gelder
Studio    Van Gelder Studio
Recording Dates    14–16 September 1966

     

tracklist:

A1 California Dreamin'
Written-By – J. Phillips 3:08
A2 Sun Down
Written-By – W. Montgomery 6:00
A3 Oh You Crazy Moon
Written-By – J. Burke-J. Van Heusen 3:40
A4 More, More Amor
Written-By – S. Lake 2:50
A5 Without You
Written-By – Marino*, Myers 3:00
B1 Winds Of Barcelona
Written-By – S. Lake 3:07
B2 Sunny
Written-By – B. Hebb 4:00
B3 Green Peppers
Written-By – S. Lake 2:25
B4 Mr. Walker
Written-By – W. Montgomery 3:35
B5 South Of The Border (Down Mexico Way)
Written-By – J. Kennedy*, M. Carr 3:15

 

 

link 

 

 

 

Donny Hathaway – Everything Is Everything (ATCO Records SD 33-332)

 

 

 

 

 

 

ATCO Records 1970 – SD 33-332

 

 notes:

Released in 1970, Donny Hathaway's debut studio album, 
Everything Is Everything, stands as one of the most influential 
soul records of its era. Issued by ATCO Records under catalog
 number SD 33-332, the album blends soul, jazz, gospel, funk, 
and socially conscious songwriting into a timeless musical experience.
At a time when American music was undergoing significant 
transformation, Hathaway emerged as a unique voice capable of 
combining sophisticated arrangements with deeply emotional 
performances. The album showcases his extraordinary talents 
as a vocalist, pianist, composer, arranger, and producer.

credits:

Musicians
Keyboards, Vocals, Direction
Donny Hathaway – lead vocals, background vocals (tracks 1–8), 
acoustic & electric pianos, organ (track 9), keyboard bass, additional bass,
arranger, conductor
Bass
Willie Weeks – bass (track 1)
Phil Upchurch – bass guitar (tracks 3–4, 6–7)
Louis Satterfield – bass (tracks 1–3)
Marshall Hawkins – bass (tracks 5, 8)
Guitar
Phil Upchurch – guitar (tracks 1–4, 6–8)
King Curtis – guitar (track 3)
John Littlejohn – guitar, vocals
Drums & Percussion
Morris Jennings – drums (tracks 1–4, 6–8)
Ric Powell – drums (tracks 5, 9), percussion
Master Henry Gibson – congas (track 8)
Horn Section
John Avant – trombone
Morris Ellis – trombone
Oscar Brashear – trumpet
John Howell – trumpet
Robert A. Lewis – trumpet
Cyril Touff – bass trumpet
Johnny Board – tenor saxophone
Lenard Druss – tenor saxophone
Clifford P. Davis – alto saxophone
Don Myrick – alto saxophone
Willie Henderson – baritone saxophone
Aaron Dodd – tuba
John Lounsberry – French horn
Ethel Merker – French horn
Paul A. Teryett – French horn
Background Vocals
The Vashonettes – backing vocals (track 9)

Producer – Donny Hathaway, King Curtis (tracks: A1 to A4, A6), Ric Powell

Recording Studios
Audio Finishers, New York, NY
Mayfair Studios, New York, NY

Recording dates: September 11, 1969 – April 16, 1970
Murray Allen – recording engineer
Roger Anfinsen – recording engineer

tracklist:

A1        Voices Inside (Everything Is Everything)
Bass – Louis A. Satterfield*
Drums – Morris Jennings
Guitar – Phil Upchurch
Percussion – Ric Powell
    3:28
A2        Je Vous Aime (I Love You)
Bass – Louis A. Satterfield*
Drums – Morris Jennings
Guitar – Phil Upchurch
Percussion – Ric Powell
    3:31
A3        I Believe To My Soul
Bass – Louis A. Satterfield*
Drums – Morris Jennings
Guitar – King Curtis
Guitar, Bass – Phil Upchurch
Percussion – Ric Powell
    3:51
A4        Misty
Drums – Morris Jennings
Guitar, Bass – Phil Upchurch
Percussion – Ric Powell
    3:37
A5        Sugar Lee
Bass – Marshall Jennings
    4:03
A6        Tryin' Times
Drums – Morris Jennings
Guitar, Bass – Phil Upchurch
Percussion – Ric Powell
    3:13
B1        Thank You Master (For My Soul)
Drums – Morris Jennings
Guitar, Bass – Phil Upchurch
Percussion – Ric Powell
    5:50
B2        The Ghetto
Bass – Donny Hathaway, Marshall Jennings
Congas – Henry Gibson
Drums – Morris Jennings
Guitar – Phil Upchurch
Percussion – Ric Powell
    6:57
B3        To Be Young, Gifted And Black
Backing Vocals – The Vashonettes
Organ – Donny Hathaway
    6:45

 

 

link 

 

 

 

The James Hunter Six – Minute By Minute (Daptone Records DAP-303, 2013)

 

 

 

DAPTONE RECORDS 2013                          DAP 303

notes:

Released in 2013 on Daptone Records as catalog number DAP-303,
 Minute By Minute by The James Hunter Six stands as one of the finest 
modern soul recordings of the decade. The album combines authentic 
1960s-inspired rhythm & blues, deep soul grooves, and James Hunter's 
unmistakable vocal style. Produced by Bosco Mann, the record captures
the warmth and energy of classic analog recordings while delivering 
fresh original songwriting.
Featuring standout tracks such as "Minute By Minute," "Chicken Switch,"
 "Drop On Me," and "If I Only Knew," the album showcases a perfect blend 
of vintage soul, R&B, and rock & roll influences. Recorded with a horn-driven
 sound and rich analog production, Minute By Minute earned praise from 
soul music fans worldwide and strengthened James Hunter's reputation as 
one of the leading voices in contemporary retro-soul.
The album's timeless appeal comes from its authentic musicianship, heartfelt
 songwriting, and the unmistakable sound associated with Daptone's legendary 
soul recordings. For collectors of vinyl records and lovers of classic soul music, 
Minute By Minute remains an essential addition to any collection.


credits:

James Hunter    vocals, guitar
Damian Hand    tenor saxophone, flute
Lee Badau    baritone saxophone
Kyle Koehler    organ
Jason Wilson    double bass
Jonathan Lee    drums, backing vocals
These six musicians constitute the "James Hunter Six" credited on the album.

Additional session musicians:

Andrew Kingslow    piano, vibraphone, percussion
Adrienne Woods    cello
Daphne Chen    violin
Leah Katz    violin
Lisa Liu    violin
Kip Wirtzfeld    backing vocals

Producer    Gabriel Roth (Bosco Mann)
Recording / Production concept    Live-in-studio recording approach
 emphasizing vintage analog soul and R&B aesthetics

A&R – Robert Saslow
 Arranged By [String Arrangements] – Damian Hand

The album was notable as James Hunter's first album recorded in 
the United States and his first collaboration with producer Gabriel Roth. 
Contemporary Daptone sources describe it as being cut live in the
 studio under Roth's direction. While the album credits available 
online do not always explicitly print the studio name, the recording
 was made within the Daptone production environment associated 
with Daptone's House of Soul, the analog studio operated 
by Daptone Records in Brooklyn, New York.

 Recorded and mixed at Penrose Recorders (Daptone West), Riverside, CA.   
 Producer,   Engineer: Gabriel Roth
Recorded: 2012–2013, United States
 
 


tracklist:


A1        Chicken Switch
Written-By – James Hunter
A2        Minute By Minute
Written-By – James Hunter
A3        Drop On Me
Written-By – James Hunter
A4        Heartbreak
Written-By – James Hunter
A5        One Way Love
Written-By – James Hunter
A6        Gold Mine
Written-By – James Hunter
B1        Let The Monkey Ride
Written-By – James Hunter
B2        The Gypsy
Written-By – James Hunter
B3        So They Say
Written-By – James Hunter
B4        Nothin' I Wouldn't Do
Written-By – James Hunter
B5        Look Out
Written-By – James Hunter
B6        If I Only Knew
Written-By – James Hunter

 

 

 

link 

 

Billy Preston – Club Meetin' (Capitol T 2607)

 

 

 

 

 

 

Capitol Records 1965 – T 2607

 

 notes:

Few musicians embodied the spirit of soul, gospel, rhythm & blues, 
and Hammond organ mastery quite like Billy Preston. Released 
on Capitol Records as catalog number T 2607, Club Meetin' 
captures Preston in a vibrant live setting, delivering energetic 
performances that showcase his extraordinary keyboard skills 
and deep gospel roots. Recorded at The Trip nightclub on the 
Sunset Strip in West Hollywood and released in 1967, this album 
stands as one of the hidden gems of the classic soul-jazz era. 
Featuring memorable interpretations of "Sunny," "Summertime," 
and a dynamic James Brown medley, Club Meetin' remains an 
essential listen for collectors of vintage R&B, Hammond organ 
recordings, and rare Capitol Records vinyl releases.

credits:

Unfortunately, Capitol did not publish a complete personnel
 list on the original LP, 
and no authoritative session documentation has surfaced.

Confirmed

Billy Preston – Hammond organ, electric piano, vocals
The Soul Brothers – backing vocal group on:
"No Man Is an Island"
"Let the Music Play"

The album was recorded live at The Trip, a famous 
Sunset Strip nightclub in West Hollywood.

Evidence from contemporary advertisements and venue 
schedules places Billy Preston at The Trip during 
11–17 November 1965, making those performances the 
most likely source of the recordings used on the album.
 Capitol later released the album in March 1967.

Producers
Billy Preston
Steve Douglas
Arranger
H. B. Barnum

tracklist:

A1        Introduction (Billy's Theme)
Written-By – Billy Preston
    1:17
A2        Sunny
Written-By – Bobby Hebb
    2:32
A3        I'm Your Hoochie Coochie Man
Written-By – Willie Dixon
    4:17
A4        Billy's Groove
Written-By – Billy Preston
    2:22
A5        No Man Is An Island
Written-By – Alex Kramer, Joan Whitney
    4:00
A6        Let The Music Play
Written-By – Billy Preston
    2:32
B1        Wade In The Water
Adapted By – Billy Preston, H.B. Barnum
Written By – Traditional
    2:50
B2        Summertime
Written-By – DuBose Heyward, George Gershwin
    3:51
B3        This Little Light Of Mine
Adapted By – Billy Preston, H.B. Barnum
Written By – Traditional
    3:32
B4        Ike's Theme
Written-By – Billy Preston
    2:26
B5        Together
Written-By – Betsy Buchanan, Viril Hollins*
    2:37
        James Brown Medley    (4:40)
B6a        Out Of Sight
Written-By – Ted Wright
    
B6b        I Got You (I Feel Good)
Written-By – James Brown
    
B6c        Please, Please, Please
Written-By – Brown*, Terry*

link

 

 

 

 

 

James Brown – Say It Loud I'm Black And I'm Proud (King Records 5-1047)

KING RECORDS 1969              S-1047

notes:

Released in 1969 on King Records, Say It Loud I'm Black And I'm Proud stands
 among the most important recordings in the career of James Brown. Arriving
 during a period of profound social and cultural change in America, the album 
combined powerful messages of Black empowerment with Brown's 
revolutionary approach to rhythm, groove, and performance. Featuring
the iconic title track alongside energetic soul and funk recordings, this LP
 remains an essential document of both musical innovation and social history.
At the end of the 1960s, James Brown was already recognized as one of the most 
influential figures in American popular music. With Say It Loud I'm Black And I'm Proud, 
he delivered more than just another successful album; he created a cultural milestone.
 The title song became an anthem of self-determination and pride, resonating deeply 
with audiences during the Civil Rights era. Musically, the album showcases Brown's 
evolving funk style, driven by tight horn arrangements, dynamic rhythms, and the 
disciplined precision of his backing musicians. Decades after its release, the record 
continues to inspire artists across soul, funk, hip-hop, and contemporary R&B.

credits:

Complete Album Personnel

Main Artists

James Brown – vocals, organ
Bobby Byrd – co-vocals on “Licking Stick”
Horn Section
Waymon Reed
Richard "Kush" Griffin
Dud Bascomb
Johnny Grimes
Joe DuPars – trumpets
Fred Wesley
Richard Harris – trombones
Levi Rasbury – valve trombone
Pee Wee Ellis – alto saxophone, organ
Maceo Parker – tenor saxophone
St. Clair Pinckney, Haywood Henry – baritone saxophones

Rhythm Section

Jimmy Nolen
Wallace Richardson
Carl Lynch – guitars
Al Lucas
Alfonzo Kellum
Bernard Odum
Sweet Charles Sherrell – bass
Clyde Stubblefield
Bernard Purdie
Jabo Starks – drums
Rafael Rivera – timbales
Julian Cabeza – congas
Edward Williams – percussion
Strings (selected tracks)
Charles Libove
Harry Katzman
Sam Ram
Matt Raimondi
Selwart Clarke
Winston Collymore
and others


Producer: James Brown
Arrangements/Direction (selected tracks): Sammy Lowe
Engineer: Dave Harrison

The album compiles sessions recorded between August 
1967 and October 1968 at several studios used by Brown while touring.

Principal Recording Studios
King Studios – Cincinnati, Ohio
Mastersound Studios – Atlanta, Georgia
Fine Studios – New York City
Bell Sound Studios – New York City
Vox Studios – Los Angeles, California

Collector's Note

The original U.S. pressing was issued by King Records as 5-1047 in
 March 1969. The title track became one of Brown's most influential 
recordings, reaching No. 1 on the R&B chart and becoming an 
anthem of the Black Power era.

Tracklist :

A1 Say It Loud - I'm Black And I'm Proud (Pt. 1)

Bass – 'Sweet' Charles Sherrell Drums – Clyde Stubblefield 

Guitar – Jimmy Nolen
Saxophone – Maceo Parker, Pee Wee Ellis, St-Clair Pinckney
Trombone – Fred WesleyTrumpet – Richard Griffith, Waymon Reed

    
A2 Say It Loud - I'm Black And I'm Proud (Pt. 2)

Bass – 'Sweet' Charles Sherrell Drums – Clyde Stubblefield  

Guitar – Jimmy Nolen 
Saxophone – Maceo Parker, Pee Wee Ellis, St-Clair Pinckney
Trombone – Fred WesleyTrumpet – Richard Griffith, Waymon Reed

    
A3 I Guess I'll Have To Cry, Cry, Cry

Arranged By, Conductor – Sammy Lowe Bass – Al Lucas

Drums – Bernard Purdie 
Guitar – Carl Lynch, Wally Richardson Piano – Ernie Hayes 
Saxophone – Heywood Henry 
Strings – Charles Libeve, Harry Katzman, Harry Malnikoff, Marion Cuabo, 
Matt Raimondi, Nick Hardone, Sam Ram, Selwart Clarke, 

Sid Ewards, Winston Collymore
Trombone – Richard Harris  Trumpet – Dud Nascomb, Johnny Grimes

    
A4 Goodbye My Love (Pt. 1) & (Pt. 2)

Bass – Bernard Odum Drums – John Jabo Starks 

Guitar – Alfonzo Kellum, Jimmy Nolen 
Organ – Pee Wee Ellis 

Saxophone – Eldee Williams, Maceo Parker, St-Clair Pinckney 
Trombone – Levi RasburyTrumpet – Joe Dupars, Waymon Reed


    
A6 Shades Of Brown

Bass – Ken Tibbetts Drums – William Beau Dollar Bowman 

Guitar – Eddie Setser 
Organ – James Brown  Producer – Bud Hobgood 
Saxophone – David Parkinson , Les Asch, Pee Wee Ellis

    
B1 Licking Stick

Bass – Tim Drummond Drums – John Jabo Starks 

Guitar – Jimmy NolenOrgan, Vocals – Bobby Byrd 

Saxophone – Maceo Parker, Pee Wee Ellis, St-Clair Pinckney

    
B2 I Love You

Bass – Alfonzo Kellum, Tim Drummond 

 Drums – Clyde Stubblefield Guitar – Jimmy Nolen 
Saxophone – Maceo Parker, Pee Wee Ellis, St-Clair Pinckney
Trumpet – Richard Griffith, Waymon Reed

    
B3 Then You Can Tell Me Goodbye

Bass – Ken Tibbetts Drums – William Beau Dollar Bowman 

Guitar – Eddie Setser Piano – Tim Hedding 

Saxophone – David Parkinson , Les Asch

Trumpet – Ron Geisman

    
B4 Let Them Talk

Arranged By, Conductor – Sammy Lowe 
Bass – Al Lucas Drums – Bernard Purdie Organ – Pee Wee Ellis
Saxophone – David Parkinson , Les Asch 

Trumpet – Johnny Grimes, Waymon Reed

    
B5 Maybe I'll Understand

Drums – William Beau Dollar Bowman Guitar – Eddie Setser

 Piano – Tim Hedding 
Producer – Bud Hobgood

    
B6 I'll Lose My Mind

Bass – Tim Drummond Drums – William Beau Dollar Bowman 

Guitar – Eddie Setser, Troy Seals 
Organ – James Brown Piano – Tim Hedding 

Saxophone – David Parkinson , Les Asch

 

 

 

link
 

James Brown – Get Up (I Feel Like Being A) Sex Machine (King Records 45-6318)

 

 

 

 

 

King Records 1970 ‎– 45-6318

 

 notes:

Few records have shaped the sound of modern music as profoundly 
as "Get Up (I Feel Like Being A) Sex Machine" by James Brown. 
Released on King Records 45-6318, this groundbreaking single 
marked a turning point in Brown's career and helped define 
the funk genre for generations to come.
Recorded in 1970, the track introduced a leaner, groove-driven 
sound built around an infectious rhythm section, sharp guitar riffs, 
and Brown's unmistakable vocal energy. Supported by the newly 
formed The J.B.'s, the recording stripped away traditional soul 
arrangements in favor of hypnotic rhythms and syncopated beats.
"Get Up (I Feel Like Being A) Sex Machine" quickly became one of 
James Brown's signature recordings. Its repetitive groove, powerful 
call-and-response vocals, and relentless energy influenced countless 
artists across funk, soul, hip-hop, R&B, and dance music. Decades after 
its release, the song remains a cornerstone of popular music and a 
favorite among collectors of vintage vinyl records.
The single's innovative production showcased Brown's vision of 
rhythm as the central element of a song. This approach would inspire 
future generations of musicians and producers, cementing his 
eputation as the undisputed "Godfather of Funk."

credits:

Line-Up / Musicians

This was one of the earliest recordings by Brown's new backing group
, The J.B.'s, which helped define the modern funk sound.

James Brown    Lead vocals, piano
Bobby Byrd    Hammond organ, backing vocals
Phelps Collins    Guitar
William Collins    Bass guitar
John Starks    Drums
Clayton Gunnells    Trumpet
Darryl Jamison    Trumpet
Robert McCollough    Tenor saxophone

Produced by: James Brown
Written by: James Brown, Bobby Byrd, Ron Lenhoff
Backing Band: The J.B.'s
Recording Studio: Starday-King Sound Studios, Nashville, Tennessee
Recorded: 25 April 1970
Reportedly recorded in only two takes

 Tracklist

A     Get Up I Feel Like Being Like A Sex Machine (Part 1)     2:49
B     Get Up I Feel Like Being Like A Sex Machine (Part 2)     2:33

 

 

link

 

 

 

 

James Brown – Say It Loud – I'm Black And I'm Proud (King Records 45-6187)

 

 

 

 

 

 

King Records 1968  ‎– 45-6187

 

 

 notes:

Few recordings have had a greater social and musical impact than 
James Brown's 1968 hit "Say It Loud – I'm Black And I'm Proud." Released
 on King Records as catalog number 45-6187, the single transcended its 
role as a chart-topping soul record to become a defining statement of 
cultural identity and empowerment. Combining infectious funk rhythms 
with a message of self-respect and unity, James Brown created a song
 that resonated far beyond the dance floor 
and continues to inspire generations worldwide.

Crédits

Personnel:

James Brown – lead vocal
Waymon Reed – trumpet
Richard "Kush" Griffith – trumpet
Fred Wesley – trombone
Pee Wee Ellis – alto saxophone
Maceo Parker – tenor saxophone
St. Clair Pinckney – baritone saxophone
Jimmy Nolen – guitar
Charles Sherrell – bass
Clyde Stubblefield – drums
Children's chorus (Watts and Compton, California)

Recording Date    7 August 1968
Recording Studio    Vox Studios, Los Angeles, California
Producer    James Brown
Arrangement    Belford "Sinky" Hendricks (Part 1 arrangement)

The recording featured approximately thirty children from the Watts 
and Compton neighborhoods performing the famous call-and-response 
chorus, "I'm Black and I'm Proud."
    

 Tracklist

A     Say It Loud - I'm Black And I'm Proud (Part 1)     2:45
B     Say It Loud - I'm Black And I'm Proud (Part 2)     2:30

 

 

link

 

 

 

 

 

Donny Hathaway – Live (ATCO SD 33-386)

ATCO Records 1972 ‎– SD 33-386

notes:

Released by ATCO Records as SD 33-386, Donny Hathaway Live
 is a landmark soul album celebrated for its emotional performances, 
audience interaction, and timeless musical brilliance. 
A must-have recording for fans of classic soul and vintage vinyl.

credits:

Musicians (Line-Up)
Musician    Instrument(s)
Donny Hathaway    Lead vocals, electric piano, piano, organ, arrangements
Phil Upchurch    Lead guitar (Side One)
Cornell Dupree    Lead guitar, backing vocals (Side Two)
Mike Howard    Guitar, backing vocals
Willie Weeks    Bass, backing vocals
Fred White    Drums, backing vocals
Earl DeRouen    Congas, backing vocals

Recording Dates & Venues
Side One    The Troubadour    Hollywood, California    August 24–30, 1971
Side Two    The Bitter End    New York City, New York    October 7, 1971

Production & Technical Credits
Producer (Side One)    Arif Mardin
Producer (Side Two)    Jerry Wexler & Arif Mardin
Recording Engineer (Troubadour recordings)    Ray Thompson
Recording Engineer (Bitter End recordings)    Tom Flye
Mixing    Arif Mardin

tracklist:

A1        What's Goin' On
Written-By – Al Cleveland, Marvin Gaye, Renaldo Benson
    5:17
A2        The Ghetto
Written-By – Donny Hathaway, Leroy Hutson
    12:18
A3        Hey Girl
Written-By – Earl DeRouen
    4:02
A4        You've Got A Friend
Written-By – Carole King
    4:33
B1        Little Ghetto Boy
Written-By – Earl DeRouen, Edward Howard
    4:32
B2        We're Still Friends
Written-By – Donny Hathaway, Glenn Watts
    5:15
B3        Jealous Guy
Written-By – John Lennon
    3:09
B4        Voices Inside (Everything Is Everything)
Written-By – Phil Upchurch, Ric Powell, Richard Evans 
    13:40

link

Eldee Young & Red Holt – Feature Spot (1967 Cadet Records LPS 791)

 

  Cadet Records 1967       LPS 791

notes:

Feature Spot by Eldee Young & Red Holt is a standout 1967
 soul jazz album released on Cadet Records LPS 791. Featuring
 soulful grooves, inventive arrangements, and exceptional 
musicianship, this classic vinyl release remains a prized collectible
among jazz and rare groove enthusiasts.

credits:

Line-up (personnel)

The album is generally credited to the trio:

Eldee Young – bass, cello
Redd Holt – drums
Ramsey Lewis – piano

Contemporary reviews specifically mention Young 
(bass and cello), Holt (drums), and Ramsey Lewis 
(piano) as the performing group on the LP.

Production

The original LP does not appear to have widely published
 session credits, but the trio was closely associated with
 producer/supervisor Ralph Bass and engineer Ron Malo 
during their Cadet/Argo years at Chess Records' Chicago operation.

Recording studio

While no surviving session sheet for Feature Spot is readily
 available online, the trio's Cadet-era recordings were typically 
made at Ter-Mar Recording Studios, Chicago, the principal 
Chess/Cadet recording facility used by Ramsey Lewis,
 Eldee Young, and Redd Holt throughout the 1960s.

Recording date

A precise recording date for Feature Spot has not been 
documented in the commonly available discographical
 sources. The album was issued in 1967, 
and was recorded sometime before its release that year.

tracklist:

A1        Travel On
Written-By – Young*
    3:44
A2        Softly, As In The Morning Sunrise
Written-By – Hammerstein*, Romberg*
    3:40
A3        Hello, Cello!
Written-By – Young*, Lewis*, Holt*
    3:17
A4        When The Spirit Moves You
Written-By – Young*, Lewis*, Holt*
    3:38
A5        Bei Mir Bist Du Schön
Written-By – Cahn*, Chaplin*, Secunda*
    3:51
A6        Dee's New Blues    2:58
B1        It Ain't Necessarily So
Written-By – Gershwin*
    2:44
B2        Swamp Girl
Written-By – Young*
    2:00
B3        Tennessee Waltz
Written-By – King*, Stewart*
    5:53
B4        The Shelter Of Your Arms
Written-By – Samuels*
    3:40
B5        Peace And Tranquility
Written-By – Young*
    5:36

 

 

 

link 

 

Sam and Dave – I Thank You (1968 Atlantic Records SD 8205)

Atlantic  records  1968 ‎– SD 8205

 

 notes:

Released in 1968 on Atlantic Records, I Thank You by Sam & Dave 
is a cornerstone of Southern soul. Featuring the hit title track and 
the duo's trademark gospel-infused energy, this classic album 
remains an essential addition to any soul music collection.

credits:

Recording Personnel (Line-Up)
Lead Vocals
Sam Moore – lead and backing vocals
Dave Prater – lead and backing vocals

House Band

The album used the famous Stax session musicians:

Booker T. & the M.G.'s
Steve Cropper – guitar
Booker T. Jones – organ, keyboards
Donald 'Duck' Dunn – bass
Al Jackson Jr. – drums
Horn Section
The Mar-Keys – horns

Arrangements

Isaac Hayes – arrangements (most tracks)
Isaac Hayes & Del Warren – arrangements on selected tracks including:
"Everybody Got To Believe In Somebody"
"If I Didn't Have A Girl Like You"
"Talk To The Man"

recorded at:

 
Memphis, TN, January 5, 1968, April 11, 1968,  April 25, 1968,  October 7, 1968
United Sound Systems, Detroit, MI, September 30, 1968 tracks: B1, B2, B3, B5

Engineer [Recording] – Ronnie Capone
Producer – David Porter
Producer, Arranged By – Isaac Hayes

tracklist:

A1     I Thank You
Written-By – David Porter, Isaac Hayes 2:53
A2     Everybody Got To Believe In Somebody
Arranged By – Del WarrenWritten-By – David Porter, Isaac Hayes 3:12
A3     These Arms Of Mine
Written-By – Otis Redding 3:08
A4     Wrap It Up
Written-By – David Porter, Isaac Hayes 2:30
A5     If I Didn't Have A Girl Like You
Arranged By – Del WarrenWritten-By – David Porter, Isaac Hayes 4:23
A6     You Don't Know What You Mean To Me
Written-By – Eddie Floyd, Steve Carpenter 2:41
B1     Don't Turn Your Heater On
Written-By – Alvertis Isbell, Steve Cropper 2:17
B2     Talk To The Man
Arranged By – Del WarrenWritten-By – David Porter, Isaac Hayes 3:02
B3     Love Is After Me
Written-By – David Porter, Isaac Hayes, Steve Cropper 2:20
B4     Ain't That A Lot Of Love
Written-By – Deanie Parker, Homer Banks 2:41
B5     Don't Waste That Love
Written-By – David Porter, Isaac Hayes 2:45
B6     That Lucky Old Sun
Written-By – Beasley Smith, Haven Gillespie 3:10

link

Lou Donaldson – Hot Dog (Blue Note BLP 4318)

Album Review, Tracklist & Jazz Soul Classic

Blue Note records 1969 ‎– BLP 4318

notes:

Hot Dog represents Lou Donaldson at the peak of his soul-jazz period. 
Combining blues feeling, jazz sophistication, and irresistible funk grooves,
 the album remains an essential Blue Note recording and a 
cornerstone of any serious jazz vinyl collection.

credits:

Alto Saxophone – Lou Donaldson
Drums – Leo Morris
Guitar – Melvin Sparks
Organ – Charles Earland
Trumpet – Ed Williams

Producer – Francis Wolff
Recorded By – Rudy Van Gelder
Rudy Van Gelder Studio, 
Englewood Cliffs, NJ, April 25, 1969

tracklist:

A1        Who's Making Love
Written-By – Bettye Crutcher, Don Davis , 
Homer Banks, Raymond Jackson
    6:35
A2        Turtle Walk
Written-By – Lou Donaldson
    7:48
A3        Bonnie
Written-By – Tommy Turrentine
    4:55
B1        Hot Dog
Written-By – Lou Donaldson
    10:40
B2        It's Your Thing
Written-By – O'Kelly Isley, Ronald Isley, Rudolph Isley
    8:55

link

Prince Buster Blue Beat Records 101–400: Rare Jamaican Ska Classics and UK Releases

singles Blue Beat records 1962 TO 1967

notes:

Blue Beat Records was a record label that released Jamaican 
rhythm and blues and ska music in the United Kingdom in the 1960s. 
It led to the use of the word bluebeat as a generic term to describe 
all styles of early Jamaican music from R&B to ska, rocksteady and 
early reggae, including music not associated with the record label.
The history of Jamaican ska music cannot be told without mentioning 
the extraordinary influence of Prince Buster and the iconic Blue Beat 
Records label. During the golden years of ska and early reggae, Blue 
Beat Records became one of the most important distributors of 
Jamaican music in the United Kingdom. Catalogue references 
101 to 400 contain some of the finest recordings ever released
 by Prince Buster, helping to introduce authentic Jamaican 
rhythms to British audiences during the 1960s.
Prince Buster, born Cecil Bustamente Campbell, was one of the
 founding architects of ska music. His recordings blended 
rhythm and blues, Caribbean influences, jazz, gospel, and African 
rhythms into a revolutionary sound that changed popular music forever. 
Through Blue Beat Records, many of his classic tracks reached a wider
 international audience and became essential records for collectors, DJs, and ska enthusiasts.
The Blue Beat catalogue from references 101 to 400 represents a historic
 period for Jamaican music. These releases include energetic 
ska instrumentals, socially conscious vocal recordings, dancefloor classics, 
and rare collector items highly sought after by vinyl enthusiasts today.
Blue Beat Records played a crucial role in spreading Jamaican music across 
the UK during the early 1960s. The label imported and distributed recordings 
from Jamaica at a time when ska music was exploding in popularity among
 Caribbean communities and British youth culture.
Prince Buster quickly became one of the label’s defining artists. His 
unique vocal style, innovative production techniques, and powerful 
rhythms transformed the sound of Jamaican music. Songs released 
during the Blue Beat era combined dancefloor energy with cultural 
identity and social commentary.
Collectors often focus on catalogue references 101 to 400 because
 these releases capture the transition from classic ska to early rocksteady.
 Original Blue Beat pressings from this era are now considered rare vinyl treasures.

credits:

Prince Buster recorded the majority of his classic UK releases for Blue Beat
Records between approximately BB 101 and BB 400 from 1962–1967, but a 
complete session-by-session archive with exact musicians, recording dates, 
and studios for every catalog number has never been officially published.
Main Recording Period
1962–1967
Produced mainly by Prince Buster (Cecil Bustamente Campbell)
UK releases licensed through Melodisc / Blue Beat
Later releases shifted toward the FAB label after Blue Beat 
catalog numbers reached the 400 range.

Principal Studios Used
Jamaica

Most Blue Beat-era masters were recorded in Kingston:

Federal Studios, Kingston
The most important early ska studio in Jamaica.
RJR Studios (Radio Jamaica Recording Studio)
WIRL Studios
Some later sessions possibly at Studio One facilities or independent 
rooms used by session musicians.
United Kingdom

A smaller number of recordings were cut or overdubbed in London:

especially tracks connected with UK touring and Blue Beat sessions.
“Wash Wash” and several UK-oriented productions reportedly 
involved British musicians including Georgie Fame.

Core Musicians / Line-Up

The backing group was usually credited as:

Prince Buster’s All Stars
Buster’s Group
occasionally Prince Buster All Stars

The personnel changed slightly by session, but these 
musicians appear repeatedly in Blue Beat-era recordings:

Musician    Instrument
Rico Rodriguez    Trombone
Ernest Ranglin    Guitar / Bass
Jerome 'Jah Jerry' Haynes    Guitar
Baba Brooks    Trumpet
Raymond Harper    Trumpet
Val Bennett    Tenor Sax
Gladstone Anderson    Piano / Organ
Arkland 'Drumbago' Parks    Drums
Count Ossie    Nyabinghi Percussion
Lynn Taitt    Guitar (later rocksteady era)
Lee Perry    Vocals / Assistant Production on some titles

These musicians are documented across numerous Blue Beat productions including:

“Madness”
“Wash Wash”
“One Step Beyond”
“Al Capone”
“Judge Dread”
“Shanty Town”
“Train to Girls Town”

Prince Buster personally supervised most sessions:

arranger
vocal coach
rhythm director
producer

Important Blue Beat Catalog Range

Approximate evolution through BB 101–400:

Period    Style
BB 100–200    Early Jamaican blues / proto-ska
BB 200–300    Classic ska explosion
BB 300–400    Late ska → rocksteady transition

Key recordings in this range include:

“Madness”
“One Step Beyond”
“Wash Wash”
“Al Capone”
“Judge Dread”
“Shanty Town”
“Dance Cleopatra”
“Rude Boy Rule”

link

 

side b of single bb 321

single Blue beat records BB261B 1964

 

Single blue beat records 1965 BB 333 A

Johnny Moore – Haven't I Been Good To You | Wand Records 1165 Northern Soul & R&B Classic

Wand ‎Records 1967 – 1165

notes:

Vintage soul music collectors continue to celebrate Johnny Moore’s
 “Haven't I Been Good To You,” an elegant and emotional release on 
Wand Records 1165. Combining heartfelt vocals, sophisticated 
arrangements, and timeless rhythm and blues production, this rare soul 
single remains a treasured favorite among Northern Soul enthusiasts worldwide.
Released during the golden age of soul and rhythm and blues, 
Johnny Moore’s “Haven't I Been Good To You” on Wand Records 1165 showcases 
the emotional sophistication of classic 1960s soul music. Appreciated by 
Northern Soul DJs, vinyl collectors, and rare groove enthusiasts, the single continues
 to stand out for its expressive vocals, melodic 
arrangement, and timeless production quality.

Credits:

Producer    Stanley Chaisson
Writers    Johnny Moore; Allen Orange sometimes credited on later pressings
Arrangers    Allen Toussaint & Johnny Moore

 Musicians / line-up
No fully documented session personnel has surfaced in standard discographies 
or label archives. However, the record is widely identified as a New Orleans 
production connected to the circle around Allen Toussaint and Johnny Moore.
The exact recording studio has not been conclusively documented in available sources. 
Because the session was arranged by Allen Toussaint and produced within the 
New Orleans R&B scene, collectors often assume it was cut in New Orleans, 
possibly at a Toussaint-associated facility, but there is no confirmed 
studio credit currently available in reliable discographies.

tracklist:

A Haven't I Been Good To You
Written-By – J. Moore*, Alan Orange
B A Dollar Ninety Eight
Written-By – Davis*, Diamond*

link