Friday, 29 May 2015

Teddy Pendergrass

PN015356

Teddy Pendergrass

Real Name:
Theodore "Teddy" DeReese Pendergrass, Sr.
Profile:
Theodore Pendergrass (March 26, 1950—January 13, 2010), an American R&B/soul singer and songwriter, was born in Philadelphia, Pa. Pendergrass is also known as Teddy P, TP, or Teddy Bear.
Lead singer for Harold Melvin & the Blue Notes. Following personality conflicts between Melvin and Pendergrass, Pendergrass launched his solo career and released the LP Teddy Pendergrass in 1977.
On March 18, 1982, Pendergrass was involved in an automobile accident, he suffered a spinal cord injury leaving him paralyzed from the waist down.
In 2006, Pendergrass announced his retirement from the music business. In 2007, he briefly returned to performing to participate in Teddy 25: A Celebration of Life, Hope & Possibilities, a 25th anniversary awards ceremony that marked Pendergrass' accident date, but also raised money for his charity, The Teddy Pendergrass Alliance. The charity provides education and occupational opportunities to people with SCI.
Official Site: teddypendergrass.com

teddy-pendergrass-arms1

Biography by Ed Hogan (AMG):
Teddy Pendergrass started singing gospel music in Philadelphia churches, becoming an ordained minister at ten years old. While attending public school, he sang in the citywide McIntyre Elementary School Choir and in the All-City Stetson Junior High School Choir. A self-taught drummer, Pendergrass had a teen pop vocal group when he was 15. By his late teens, Pendergrass was a drummer for local vocal group the Cadillacs.

In the late '60s, the Cadillacs merged with another more established group, Harold Melvin & the Blue Notes. In 1970, when the Blue Notes broke up, Melvin, now aware of Pendergrass' vocal prowess, asked him to take the lead singer spot. It's no secret that Kenneth Gamble and Leon Huff wanted Marvin Junior of the Dells for their Philadelphia International Records roster. Since the Dells were signed to Chess, they were unavailable. When the gruff'n'ready vocals of Pendergrass came their way, they eagerly signed the group. Beginning with "I Miss You," a steady stream of hit singles flowed from the collaboration of Pendergrass and Gamble & Huff: "If You Don't Know Me by Now," "The Love I Lost," "Bad Luck," "Wake Up Everybody" (number one R&B for two weeks in 1976), and two gold albums, To Be True and Wake Up Everybody.

Unfortunately, the more success the group had, the more friction developed between Melvin and Pendergrass. Despite the revised billing of the group, Harold Melvin & the Blue Notes featuring Theodore PendergrassPendergrass felt that he wasn't getting enough recognition. Around 1976, Pendergrass left Melvin's Blue Notes and formed his own Blue Notes, featuring Teddy Pendergrass. Briefly, there was some confusion as to which Blue Notes were which. The resolution came when Pendergrass disbanded his Blue Notes in favor of a solo career and Melvin's group signed a recording contract with Source Records, distributed through ABC Records, scoring a hit with "I Want to Be Your Lover."

Pendergrass signed a new contract with Philadelphia International Records in late 1976/early 1977. He burst back on the scene with Teddy Pendergrass, a platinum solo debut that included the top-notch singles "I Don't Love You Anymore," "You Can't Hide from Yourself," and "The More I Get the More I Want." Around this time, Pendergrass began to institute his infamous "Ladies Only" concerts. His next three albums went gold or platinum: Life Is a Song Worth Singing (1978), Teddy (1979), and Teddy Live (Coast to Coast). The hit single "Close the Door" was used in the film Soup for One, where Pendergrass had a small role.

The singer received several Grammy nominations during 1977 and 1978, Billboard's 1977 Pop Album New Artist Award, an American Music Award for best R&B performer of 1978, and awards from Ebony magazine and the NAACP. He was also in consideration for the lead in the movie biopic The Otis Redding Story. The '70s ended, but Pendergrass kept racking up the hits. TP, his fifth solo album, went platinum in the summer of 1980 off the singles "Turn Off the Lights," "Come Go with Me," "Shout and Scream," "It's You I Love," and "Can't We Try." It's Time for Love gave Pendergrass another gold album in summer 1981, which included the hit singles "Love TKO" and "I Can't Live Without Your Love."

A 1982 car accident left Pendergrass paralyzed from the waist down and wheelchair-bound. After almost a year of physical therapy and counseling, Pendergrass returned to the recording scene, signing a contract with Elektra/Asylum in 1983. His ninth solo album and Elektra/Asylum debut, Love Language went gold the spring of 1984. Philadelphia International issued two albums of unreleased tracks, This One's for You (1982) and Heaven Only Knows (1983). Other albums included Workin' It Back (1985), Joy (1988, whose title track went to number one R&B for two weeks), and Little More Magic (1993). The latter half of the '90s found Pendergrass recording for the Surefire/Wind Up label. Truly Blessed, the name of an 1991 Elektra album, is also the title of the autobiography Pendergrass co-authored with Patricia Romanowski. Apart from an appearance at a 2007 ceremony held in his honor, Pendergrass spent his later years away from the spotlight. He had difficulty recovering from colon cancer surgery and passed away on January 13, 2010.

teddy-pendergrass-love1

More on Mr. Pendergrass:
Pendergrass had three children, Tisha, LaDonna and Teddy II. In 1987, he married a former Philadanco dancer named Karen Still, who had also danced in his shows. Karen was Pendergrass' primary caregiver. The couple amicably divorced in 2003. Pendergrass met Joan Williams in the spring of 2006. Pendergrass proposed to Joan after four months and they married in a private ceremony officiated by Teddy's Pastor Allyn Waller of Enon Tabernacle Baptist Church on Easter Sunday, March 23, 2008. A formal wedding was celebrated at The Ocean Cliff Resort in Newport, Rhode Island on September 6, 2008.
As members of Enon Tabernacle Baptist Church, Joan Pendergrass set up The Enon Tabernacle Baptist Church Youth Fund in the name of Teddy Pendergrass to provide assistance and a center for Philadelphia's inner city youth.
He published his autobiography, Truly Blessed, in 1992. There are plans to make a feature film biopic of Teddy's life. Tyrese Gibson is set to star as the late singer.
On June 5, 2009, Pendergrass underwent successful surgery for colon cancer and recovered to return home. A few weeks later he returned to the hospital with respiratory issues. After seven months, he died of respiratory failure on January 13, 2010, at age 59 with wife Joan by his side, while hospitalized at Bryn Mawr Hospital in suburban Philadelphia. Teddy is survived by his mother Ida, wife Joan, three children; Tisha, Teddy II, LaDonna, stepdaughters Sherilla Leftrade, Jessica Avila and four grandchildren and three stepgrandchildren.
From Wikipedia

tp1977_fr

''Teddy Pendergrass''
( LP Philadelphia International Records, 1977 )
Catalog # PZ 34390, 34390

Tracklisting:
A1 You Can't Hide From Yourself 4:06
Written-By - K. Gamble, L. Huff
A2 Somebody Told Me 5:13
Written-By - K. Gamble, J. Whitehead, G. McFadden, V. Carstarphen
A3 Be Sure 5:17
Written-By - K. Gamble, L. Huff
A4 And If I Had 4:23
Written-By - K. Gamble, L. Huff
B1 I Don't Love You Anymore 3:59
Written-By - K. Gamble, L. Huff
B2 The Whole Town's Laughing At Me 4:28
Written-By - S. Marshall, T. Wortham
B3 Easy, Easy, Got To Take It Easy 4:55
Written-By - J. Whitehead, G. McFadden, V. Carstarphen
B4 The More I Get, The More I Want 4:27
Written-By - J. Whitehead, G. McFadden, V. Carstarphen

Personnel & Credits:
Arranged By - Bobby Martin (tracks: A1, A4 to B4), Jack Faith (tracks: A2, A3)
Artwork By [Album Design] - Ed Lee
Bass - James Williams, Michael "Sugar Bear" Foreman
Congas, Bongos - Larry Washington
Drums - Charles Collins, Karl Chambers, Keith Benson
Engineer - Jay Mark , Jim Gallagher, Joe Tarsia
Engineer [Assistant] - Arthur Stoppe , Darrell Rogers, Jim Dougherty, Peter Humphreys
Guitar - Dennis Harris, Roland Chambers
Keyboards - Dexter Wansel, Ron Kersey, Victor Carstarphen
Photography - Frank Laffitte
Producer - Kenneth Gamble & Leon Huff (tracks: A1, A3, A4, B1),
John Whitehead, Gene McFadden (tracks: A2, B3, B4),
Sherman Marshall (tracks: B2),
Victor Carstarphen (tracks: A2, B3, B4)
Strings, Horns - MFSB

Notes:
Catalog number on spine & inner label: PZ 34390
Catalog number on back of sleeve: 34390
A4 formerly entitled "Someone To Love Me".
Recorded at Sigma Sound Studios, Philadelphia, Pa.
Mastered at Frankford/Wayne Recording Labs, Philadelphia, Pa.
1977 CBS Inc.
Format:Vinyl, LP, Album
Country:US
Released:1977

tp1977_label1


''You Can't Hide From Yourself''


Album Review by Ron Wynn (AMG)
The skeptics had their suspicions allayed quickly when Teddy Pendergrass' debut album as a solo singer cracked the Top 40. Its lead single, "I Don't Love You Anymore," was among his best uptempo tunes, and the follow-up ballad "The Whole Town's Laughing at Me" ended any speculation that he was returning to Harold Melvin & the Blue Notes. While many thought the album would launch him to consistent R&B success, almost no one thought he would be R&B's biggest male star in a couple of years.

US Philadelphia International / Sony BMG, 2008 Re-Issue Review:
The original release was on Philadelphia International, 1977.
Produced by Kenneth Gamble & Leon Huff; John Whitehead, Gene McFadden & Victor Carstarphen; Sherman Marshall
There couldn’t have been a more favourable environment for Teddy’s debut than Gamble & Huff and Philadelphia International Records. They had worked with Teddy for years and knew what they wanted to do with him. Teddy appreciated the fact that music came first for Gamble & Huff and that they varied their production style to suit the artist they were working with, and not vice versa. As Teddy put it, they had a rare gift of artistry combined with killer commercial instinct.
Of course these guys, Gamble & Huff, John Whitehead, Gene McFadden, Victor Carstarphen, Sherman Marshall (and later Thom Bell and Dexter Wansel), arrangers like Bobby Martin and Jack Faith and all the brilliant musicians did so much amazing stuff over the years that even this album, wonderful as it is, is just one of their achievements. Still, I think the whole lot of them should be knighted for this album alone. The level of musicianship is impeccable throughout and the abundance of tasty nuances in the production and arrangements is incredible.
The Gamble & Huff produced debut single, I Don’t Love You Anymore, hit # 7 on the R&B charts and was an impressive showcase for the album. After a brief percussive interlude, it quickly gets to the point and proceeds as a dynamically rolling piece of uptempo soul with an overall musical atmosphere that is decidedly uplifting despite the lyrics. I especially like the part where Teddy adds some typically rough and emotional ad libs over a tinkling piano and guitar picking. The McFadden, Whitehead & Carstarphen production, The More I Get, the More I Want, is a similar hard-driving percussive uptempo track with an insistent bassline. The opening track You Can’t Hide from Yourself is even more relentless with its rock-solid backing and horn riffs that hit you like a boxer hits a heavy bag. The way Gamble & Huff have combined the funk elements with the solid tune and Teddy’s rough’n rugged vocals is simply wonderful.
These three dynamite uptempo tunes are all brilliant, but, amazingly enough, the slow material is even more impressive. My number one choice would have to be Somebody Told Me, and this is despite the fact that the religious lyrics are totally irrelevant to me. A song of many layers, it starts with just a touch of percussion and a guitar introducing the melody, then Teddy’s gentle voice utters the sublime chorus line, the rhythm kicks in, Teddy adds a little stamina, the dramatic strings emerge, there’s an angelic choir, and little by little Teddy kicks his majestic voice into full gear. And so it goes on evolving, with something constantly happening. There’s subtlety, there’s strength and conviction. A true masterpiece and one of my all-time favourite tunes.
Then there’s the second single (R&B # 16), the instantly captivating yet profound ballad composition The Whole Town’s Laughing at Me. Of course, the arrangement is again faultless, but the tune itself is the main attraction for me. Why is it so good? I really couldn’t tell. Why is it that a Beatles tune that millions of people worship makes me want to vomit, but this one touches my soul? I have no idea, and to tell you the truth I prefer it that way.
As the final addition to my personal top three, I would have to single out Easy, Easy, Got to Take It Easy. The swaying rhythm instantly creates a carefree atmosphere and within seconds the melody and Teddy’s interpretation grab your full attention. The lyrics and overall feel are purely carnal, yet this in no way diminishes the musical value of this wonderful soul floater.
What’s left? And If I Had starts in an almost cinematic atmosphere with dramatic touches of sax and guitar, and Teddy seems charged with contained emotion. Towards the end, with the background singers and the typical passionate finale, the song starts to sound more like a typical R&B ballad, and the end result is quite fascinating. The easy-going swayer Be Sure seemed to me the most ordinary outing, but as an album filler it is perfectly fine, particularly considering Teddy’s typically inspired interpretation.
A classic album.
By Petteri Ruotsalainen (Soulexpress)

tp1977_label2


''The More I Get, The More I Want''

On Line:
Discogs
All Music Guide
Wikipedia
TP Official Site

Note:
(Demo Short Clips)
These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.
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Monday, 25 May 2015

Record Of The Week: The Kay-Gees - Hustle Wit Every Muscle

Hustle with every muscle

The Kay-Gees - Hustle Wit Every Muscle
(Theme From "Party" T.V. Show)


Label: Gang Records GR-1325
Format: Vinyl, 7", 45 RPM
Country: US
Released: 1975
Time: 3:20

Credits:
Mastered By [Uncredited] – J. Rodriguez
Producer, Arranged By – Ronald Bell
Written-By – Kay-Gees, R. Bell

Notes:
Delightful Music/Gang Music (BMI)
Produced for K & G Productions
1975 Gang Records

Note:
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These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.
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Sunday, 24 May 2015

Pharaoh Meets We Are Mam # 7 - Session Of The Soul Mix - May 2015

we-are-mam-7
Pharaoh Meets We Are Mam # 7
Session Of The Soul Mix - May 2015


(Art: Mati Klarwein)

Tracklisting:
1 – Collocutor – Agama
2 – Drew Lustman - Put It Out There
3 – Glenn Underground – My Little Ebony
4 - Reekee - Nostalgic Friday
5 – K 15 - Yellow
6 – Drala – Spirits and Smiles
7 – Boo Williams – Living Waters
8 – Georg Levin feat. Clara Hill – I Got Somebody New (Ritual Dub)
9 – African Soul Project feat. Harold Brandon – Happiness
10 - Marcos Valle – Prefixo ( Bloodfire Remix By Daz I Kue)
11 - Ron Trent – Morning Fever
12 – Jay Daniel – Royal Insanity
13 - Robotalco – Robot Jungle ( From forthcoming CD Compilation “United Republic Of Music” / Roots Underground Records)
14 – John FM – Where My Roots Lie ( New Detroit Anthem) Edits by Omar S Nik
15 – Leron Carson – China Trax
16 – Glenn Underground – Session Of The Soul
17 – Giorgio Luceri – Pherenike
18 – LoftSoul & Latin Soul Brothas – Soul Inspiration (Dub Mix) – Prod By Ricardo Miranda
19 - A Guy Called Gerald – Humanity ( Ashley Beedle’s Compassion and Air)
20 - TMC - Good Help ( From forthcoming CD Compilation “United Republic Of Music” / Roots Underground Records )

Listen here (Soundcloud)

Note:
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(Demo Short Clips)
These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.
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Monday, 18 May 2015

Record Of The Week: Bobby Rush - I Wanna Do The Do

dothedo_12

Bobby Rush
''I Wanna Do The Do''


Label: Philadelphia International Records 2Z8 3694
Format: Vinyl, 12", 33 1/3 RPM
Country: US
Released: 1979
Time: 6:36

Notes:
Written-By – B. Rush, L. Huff
Producer, Arranged By – Leon Huff
Special disco version from the PIR Lp: "Rush Hour" JZ 35509

Note:
(Demo Short Clips)
These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.
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Sunday, 17 May 2015

MFSRadio Presents: Desire

MFSRadio Presents:
''Desire''


Tracklisting:
01 Smoove - Big Balls
02 45 - I Remember Ramsey
03 Dahlia - Rich Woman
04 Lo Greco Bros - Desire
05 S-Tone Inc. - Dreamer
06 [re:jazz] - Twiggy Twiggy
07 The Soul Snatchers - Do You Wanna Get Down
08 9dw - Migrant
09 Incognito - Ain't It Time
10 AKA Project - Hanging In The Shadows
11 Nina Miranda And Chris Frank - Come With Me
12 Till Bronner - So Danco Samba (Nicola Conte Rework)
13 Sunaga T Experience - Brighter Bossa
14 Licaones - Tecno Lounge
15 Santana - Samba De Sausalito
16 Mark Murphy - Stolen Moments (Midnight Mood Rework)

Selected & Compiled by Rob Funkyfrog
A My Favourite Sound© Production, 2015
MFS©: The Only & Original Since 2006

DL/Listen here

Note:
All dj sets & other radio sets are programmed with the permission of the owners.
These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.
All contents provided: Copyright © 2015 All rights reserved.
Pictures copyright held by photographers. If you are the photographer of any picture and would like it removed please email us.

Thursday, 14 May 2015

Rare Jazz Organ B3: Billy Hawks - Heavy Soul! (Prestige Rec.1968)

hawks-front
Billy Hawks


''Heavy Soul!''
( LP Prestige Records, 1968 )
Catalog # 7556

Billy Hawks was a Philly-based Jazz/soul/blues Hammond B3 Player who played the Atlantic City circuit as well as around the world. Billy Hawks sings and plays organ, with a groove that’s in between jazz, blues and deep soul. He’s fronting a trio that includes a young Ivan “Boogaloo Joe” Jones on guitar and the group plays a few instrumentals with some excellent organ/guitar interchange. It is a bit bluesy, but there’s also still a relatively strong soul jazz component as well, one that comes through in the overall structure of the tunes and in the lean style in which they were recorded.

Tracklisting:
A1 O'Baby (I Believe I'm Losing You)
A2 Drown In My Own Tears
A3 Whip It On Me
A4 What Can I Do ? (To Prove My Love To You)
A5 Heavy Soul
B1 You've Been A Bad Girl
B2 I'll Be Back
B3 I Can Make It
B4 That's Your Bag

Personnel & Credits:
Billy Hawks Quartet:
Buddy Terry (ts -7,8)
Maynard Parker (g)
Henry Terrell (d)
Billy Hawks (vo, org)

Notes:
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 6, 1967
Format:Vinyl, LP
Country:US
Released:1968
**Also re-issued on Beat Goes Public Bgp Records (1998)

hawks-back


''O'Baby (I Believe I'm Losing You)''

Reviews & Comments:
Billy Hawks second album for Prestige, and as far as I know his final recording. Difficult to categorise, it falls between Blues and Soul Jazz. From the opening bars of the first track "O' Baby'', you know you are in for a classic Jazz Dancer and on to the bluesy "Drown in my own tears", it`s a gritty, get down performance.

A great piece of work, a concoction of the smokey back room Bearle Steet rhythm and the feeling of being down and out New Orleans. The flood of emotion that this collection of heavy soul brings is akin to being the only person standing on the beach in an isolated cove watching dark thunderous storm clouds roll in. It is somewhat sensuous yet full of anger and angst. A truly superb piece of music making!
From Amazon

hawks-lab1


''Whip It On Me''

On line:
Discogs
AMG
Popsike
Amazon
JazzDisco Org

Original post: 18/01/2009

Note:
(Demo Short Clips)
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Monday, 4 May 2015

Record Of The Week: Bobby Thurston - Check Out The Groove 7''

Bobby Thurston-Check Out The Groove7

Bobby Thurston
''Check Out The Groove'' 7''


Label: Prelude Records PRL 8011
Format: Vinyl, 7", 45 RPM, Single
Country: US
Released: 1980
Time: 3:50

Credits:
Arranged By – Rodney Brown
Edited By – Francois K.
Producer – Willie Lester & Rodney Brown
Written-By – W. Lester, R. Brown

Notes:
Published By – Diamond In The Rough Music
Published By – Trumar Music
Produced For – Mainline Productions
Record Company – Prelude Records
Phonographic Copyright (p) – Prelude Records
Manufactured By – Prelude Records
Distributed By – Prelude Records
Manufactured and distributed by Prelude Records. 200 West 57 St. New York, N.Y. 10019.

Note:
(Demo Short Clips)
These demo files are in a low bitrate only for promotion purpouse. If any owner of the copyright want to remove these demo files please send a mail to myfavouritesound@gmail.com and the links will be immediately removed.
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Sunday, 3 May 2015

The Amen Break: The Winstons - Color Him Father (Metromedia Rec.,1969)

Winstons _front
The Winstons

''Color Him Father''
( LP Metromedia Records, 1969 )
Catalog # MD 1010 Stereo

The Winstons were a 1960s funk and soul music group, based in Washington, D.C.. They are known for their 1969 recording of an EP featuring a song entitled "Color Him Father" on the A-side, and a song entitled "Amen, Brother" on the B-side. Half-way into "Amen, Brother", there is a drum solo (performed by G.C. Coleman) which would cause The Winston's EP to become one of the most widely-sampled record in the history of electronic music. Sampled audio clips of the drum solo became known as the Amen Break, which has been used in thousands of tracks in a large number of musical genres, including: hip-hop, drum and bass, jungle, Big beat, Industrial, Electronica, and pop music.
The "Color Him Father" record sold over one million copies, and received a gold record awarded by the Recording Industry Association of America on 24 July 1969.

Tracklisting:
01 - Color Him Father
02 - I've Got To Be Me
03 - The Chokin' Kind
04 - The Greatest Love
05 - A Handful Of Friends
06 - Everyday People
07 - The Days Of Sand And Shovels
08 - Birds Of A Feather
09 - Only The Strong Survive
10 - Traces
11 - Amen, Brother

Personnel:
Alto Saxophone, Vocals – Ray Maritano
Arranged By, Conductor – Emory Gordy, Jr.
Art Direction – Sid Maurer
Bass Guitar, Vocals – Sonny Peckrol
Design [Album Design] – Michael Mendel
Drums, Vocals – G. C. Coleman
Engineer – Rodney Mills
Lead Guitar, Vocals – Quincy Mattison
Organ, Lead Vocals – Phil Tolotta
Producer – Don Carroll
Tenor Saxophone, Lead Vocals – Richard Spencer

Notes:
Recorded At – Le Fevre Sound Studios, Atlanta
Format:Vinyl, LP, Album
Country:US
Released:1969

Winstons _back

Review:
The last track is the original source of the famously sampled drum break generally referred to as "the Amen break". The title track was a hit and they had another hit with Love Of The Common People which is not on this album.

The Winstons
The Winstons

Biography by Bruce Eder (AMG):
A Washington, D.C.-based soul act led by Richard Spencer, the Winstons signed to Curtom in early 1968 and lasted there for one single, the rousing "Need a Replacement." They had a sound that was somewhat similar to the Impressions, but were unfortunate enough to have signed with Curtom before the label had national distribution, and the single never got the play it should have. A year after leaving Curtom, they hit for the Metromedia label with a huge single called "Color Him Father," which became a Top Ten R&B and pop hit, just missing number one on the R&B list, and also earned a Grammy for Best R&B Song. It was both a great tribute number and outstanding lead vocal from Richard Spencer, along with Ray Maritano, Quincy Mattison, Phil Tolotta, Sonny Peckrol, and G.C. Coleman. Mattison and Coleman were veterans of Otis Redding's band. The Winstons eventually toured as the backup band for the Impressions, but never again made any noise on the charts.

Winstons _label


''Everyday People''

About the Amen Break:
The Amen break is a brief drum solo performed in 1969 by Gregory Cylvester "G. C." Coleman in the song "Amen, Brother" performed by the 1960s funk and soul outfit The Winstons. The full song is an up-tempo instrumental rendition of Jester Hairston's "Amen," which he wrote for the Sidney Poitier film Lilies of the Field (1963) and which was subsequently popularized by The Impressions in 1964. The Winstons' version was released as a B-side of the 45 RPM 7-inch vinyl single "Color Him Father" in 1969 on Metromedia (MMS-117), and is currently available on several compilations and on a 12-inch vinyl re-release together with other songs by The Winstons.
From Wikipedia

aa


''Amen Brother''


On Line:
Discogs
Wikipedia
AMG

Original post: 12/03/2008

Note:
(Demo Short Clips)
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Saturday, 2 May 2015

MFSRadio Presents: Sampa Nights Disco Beats - Big City Beats Vol.18

Sao_Paulo Noite_c1AA
MFSRadio Presents: Sampa Nights Disco Beats
Big City Beats Vol.18


Tracklisting:
01. MaiTai - History (Rutger Kroese 12' Version)
02. Raw Silk - Just in Time
03. Delegation - It's Your Turn
04. Change - You Are My Melody (12' Version)
05. Donna Allen - Joy And Pain (Dance Version)
06. Chaz Jankel - Glad To Know You
07. Divine - Native Love Step By Step (12' Version)
08. Bobby Thurston - Check Out The Groove (DJ Friction Edit)
09. Bobby Thurston - You Got What It Takes (Disco Edit Version)
10. Mary Jane Girls - In My House (12' Version)

Listen here (Mixcloud)

Note:
Music selected by JP The AM
Total Time: 01:04:22
Radio Program/The ''Big City Beats'' Series - A My Favourite Sound© Radio/Inagroove© Records Production, 2015
MFS©: The Only & Original Since 2006

All contents provided: Copyright © 2015 All rights reserved.
Pictures copyright held by photographers. If you are the photographer of any picture and would like it removed please email us.