Early ISH + Thank You SoulStrut
spelunk
3,400 Posts
I got inspired and finished up my ISH early tonight, and wanted to post it up here early for a few reasons:First, a couple of these records I know very little about and want to know more, so if anyone can drop knowledge it'd be much appreciated.Second, I know I definately slack on contributing here, and have gleaned a lot of knowledge from the people on this board, both meeting in the real world, reading their opinions, and buying their records 
Thanks to everyone who has helped me out.Third, CAN WE TALK ABOUT SOME RECORDS? Please? Enough fighting about what's on the radio.My camera is out of batteries so pics are going to have to wait for the real ish.Who:[/b] SpelunkReppin[/b] Albany/Santa Cruz, CA (Vermont native though, what!)Years on the Product:[/b] 2Lonnie Hewitt & Keepin it Together (Wee, 1977)[/b]Apologies in advance for the beater soundclip. If you???re a fan of the soul sounds of the late 70s in the East Bay Area, every record on the Wee label is essential. I also really dig "Is it Me", but my copy mysteriously has a giant unplayable scratch that I didn't remember was there. Lonnie Hewitt is a smooth operator, reminds me of Barry White in a higher octave. Definite modern/sweet soul leanings, but this is really a step above what Pierre and ???em are all sweating these days.Jimmye Nichols ??? You???re Taking the Spirit (Jaybow, 1967?)[/b]I really think for the most part ???psychedelic soul??? is a hackneyed term, as most of the records labeled as such aren???t really all that psychedelic, they just have louder guitar parts (cue Undisputed Truth). To me, this mysterious record really fits the bill. It really doesn't fit into any of the typical soul categories. I can???t find a lick of information about it other than the information on the label. The bassline is absolutely killer. Near the end of the track Nichols sings ???Stop tripping out on me baaay-bee!??? and goes into high-octave bliss, very similar to the way Minnie Riperton would sing in impossibly high octaves at the climax of a song. Any info is highly appreciated[/b]George Mays & The Voices of Praise ??? Take One! (VOP Productions, 1977)[/b]An overall solid gospel record from Chicago with one absolutely facemelting track called ???Then I???ll Be Satisfied???, which begins slowly with a heavy piano part, and about halfway through kicks the tempo up and the chorus belts ???Fill me with your looooooove, your love!???. The tambourine part at the end gets me everytime, just when you think the song hits its emotional climax, it gets even wilder. I could definitely imagine this song going on for a good 20 minutes in a Baptist church.Akido ??? S/T (Mercury, 1972)[/b]For all you fools who keep outbidding me on Afro-Rock raers (Offege, One World, Founders 15), you???re awfully silly if you don???t already have this slept-on and easy to come by gem. I bought this blind off Doeizm in a set sale (thanks man!) and it???s been on repeat pretty much ever since. Absolutley sublime record, closest comparison I could make would be Cymande, but with harder guitars. No horns, just drums, bass, percussion and vocals. The rhythms on here are African-derived, hard, heavily syncopated and funky. Too good to fit in any one genre box. Phenomenally well recorded, I really can???t say enough good things about this record.Gabor Szabo ??? Dreams (Skye, 1971)[/b]This is the first great record I ever owned. Part of my mom???s record collection that I cleaned through when I first started digging, and it was just sitting there amongst some Dan Fogelberg and Earl Klugh turds. Szabo is an absolute genius guitarist, and Gary McFarland???s Skye label had some great and very unique output, but this record outshines anything else the two have ever worked on, and I???d credit much of that to bassist Louis Kabok. The bassline on ???Galelea???s Guitar??? is wild (Pete Rock flipped it). There is a definite Eastern (read: Indian & Eastern European) influence as well. This also has the illest cover artwork of any record I have ever seen.Bernard Lavilliers ??? Le Stephanois (Disques Motors, 1975)[/b]People trip balls about the proto-rap of Serge Gainsbourg and other Frenchmen, but this one slips right under the radar unless some European dude on eBay labels it as ???OMG DUSTYFINGERS LOOPS 4 DAYZ???. Bernard Lavilliers was essentially a French pop artist who put out a grip of cheesy pop music for decades, but this record has two standout tracks that would make anyone after French raer happy. The first ???Les Aventures Extraordinaires D???un Billet du Banque??? (that???s ???The Extraordinary Adventures of a Dollar Bill??? for the non-French speakers) is a slow track with a great bassline and clever spoken word. ???La Verite??? (The Truth) is extra funky with great strings and a choru
s that translates to ???The Truth is in the Streets???.Emmanuelle ??? Chanter Pour Vivre (???Sing to Live???) (Disques Sol 7, 1974)[/b]French-Canadian B-Boy 130 BPM HEAT! I absolutely flipped when I first heard this joint. So glad I needle dropped past the first few tracks. An overall mediocre 70s pop record with one killer cut called ???Le Reel Facile??? which has pretty much everything you want in an uptempo b-boy banger minus the drum break (if only). Fuzz guitar, a foreign chick rapping, syncopated percussion, hard drums, the works, all clocking in just over 2 minutes. I always want to mix this in with other records but it is always just too damn fast unless I play ???Apache??? and then pitch this one down. Frantic is a good word to describe it.
Thanks to everyone who has helped me out.Third, CAN WE TALK ABOUT SOME RECORDS? Please? Enough fighting about what's on the radio.My camera is out of batteries so pics are going to have to wait for the real ish.Who:[/b] SpelunkReppin[/b] Albany/Santa Cruz, CA (Vermont native though, what!)Years on the Product:[/b] 2Lonnie Hewitt & Keepin it Together (Wee, 1977)[/b]Apologies in advance for the beater soundclip. If you???re a fan of the soul sounds of the late 70s in the East Bay Area, every record on the Wee label is essential. I also really dig "Is it Me", but my copy mysteriously has a giant unplayable scratch that I didn't remember was there. Lonnie Hewitt is a smooth operator, reminds me of Barry White in a higher octave. Definite modern/sweet soul leanings, but this is really a step above what Pierre and ???em are all sweating these days.Jimmye Nichols ??? You???re Taking the Spirit (Jaybow, 1967?)[/b]I really think for the most part ???psychedelic soul??? is a hackneyed term, as most of the records labeled as such aren???t really all that psychedelic, they just have louder guitar parts (cue Undisputed Truth). To me, this mysterious record really fits the bill. It really doesn't fit into any of the typical soul categories. I can???t find a lick of information about it other than the information on the label. The bassline is absolutely killer. Near the end of the track Nichols sings ???Stop tripping out on me baaay-bee!??? and goes into high-octave bliss, very similar to the way Minnie Riperton would sing in impossibly high octaves at the climax of a song. Any info is highly appreciated[/b]George Mays & The Voices of Praise ??? Take One! (VOP Productions, 1977)[/b]An overall solid gospel record from Chicago with one absolutely facemelting track called ???Then I???ll Be Satisfied???, which begins slowly with a heavy piano part, and about halfway through kicks the tempo up and the chorus belts ???Fill me with your looooooove, your love!???. The tambourine part at the end gets me everytime, just when you think the song hits its emotional climax, it gets even wilder. I could definitely imagine this song going on for a good 20 minutes in a Baptist church.Akido ??? S/T (Mercury, 1972)[/b]For all you fools who keep outbidding me on Afro-Rock raers (Offege, One World, Founders 15), you???re awfully silly if you don???t already have this slept-on and easy to come by gem. I bought this blind off Doeizm in a set sale (thanks man!) and it???s been on repeat pretty much ever since. Absolutley sublime record, closest comparison I could make would be Cymande, but with harder guitars. No horns, just drums, bass, percussion and vocals. The rhythms on here are African-derived, hard, heavily syncopated and funky. Too good to fit in any one genre box. Phenomenally well recorded, I really can???t say enough good things about this record.Gabor Szabo ??? Dreams (Skye, 1971)[/b]This is the first great record I ever owned. Part of my mom???s record collection that I cleaned through when I first started digging, and it was just sitting there amongst some Dan Fogelberg and Earl Klugh turds. Szabo is an absolute genius guitarist, and Gary McFarland???s Skye label had some great and very unique output, but this record outshines anything else the two have ever worked on, and I???d credit much of that to bassist Louis Kabok. The bassline on ???Galelea???s Guitar??? is wild (Pete Rock flipped it). There is a definite Eastern (read: Indian & Eastern European) influence as well. This also has the illest cover artwork of any record I have ever seen.Bernard Lavilliers ??? Le Stephanois (Disques Motors, 1975)[/b]People trip balls about the proto-rap of Serge Gainsbourg and other Frenchmen, but this one slips right under the radar unless some European dude on eBay labels it as ???OMG DUSTYFINGERS LOOPS 4 DAYZ???. Bernard Lavilliers was essentially a French pop artist who put out a grip of cheesy pop music for decades, but this record has two standout tracks that would make anyone after French raer happy. The first ???Les Aventures Extraordinaires D???un Billet du Banque??? (that???s ???The Extraordinary Adventures of a Dollar Bill??? for the non-French speakers) is a slow track with a great bassline and clever spoken word. ???La Verite??? (The Truth) is extra funky with great strings and a chorus that translates to ???The Truth is in the Streets???.Emmanuelle ??? Chanter Pour Vivre (???Sing to Live???) (Disques Sol 7, 1974)[/b]French-Canadian B-Boy 130 BPM HEAT! I absolutely flipped when I first heard this joint. So glad I needle dropped past the first few tracks. An overall mediocre 70s pop record with one killer cut called ???Le Reel Facile??? which has pretty much everything you want in an uptempo b-boy banger minus the drum break (if only). Fuzz guitar, a foreign chick rapping, syncopated percussion, hard drums, the works, all clocking in just over 2 minutes. I always want to mix this in with other records but it is always just too damn fast unless I play ???Apache??? and then pitch this one down. Frantic is a good word to describe it.
Comments
that records ill, i got that last time i went to paris... dollarbinraer...
from memory, he was a champion boxer and celebrity... BAPT can fill you in, cuz he's the one who hipped me to it
Br****n, these look great. im at work and will most definetly be peeping this evening. The contribution is greatly appreciated. keep up the living and the digging. Im sure we will be able to re-connect soon enough.
Brazil is gonna be amazing too. A friend from santa fe is leaving tomorrow. ill find out where he will be and maybe the two of you can link up. PM me and let me know the details of your trip.
definetly no