Candi Staton - Evidence: The Complete Fame Records Masters CD

Evidence: The Complete Fame Records Masters buy CD music "I can feel the pain, Lord, it's raining in my heart," Bettye LaVette howls on "The Forecast," and it sounds like it. On this stunning comeback -- her first American release in over 20 years -- the feisty soul singer rips through an hour of music with the pent-up hunger of a caged tiger at feeding time. Helped immeasurably by producer/songwriter Dennis Walker, best known for his breakout work with Robert Cray, LaVette moans, screams, shouts, pleads, and growls her way through a dozen tracks that'll leave even the most jaded R&B fan begging for more. One of the casualties of music biz politics, LaVette has a style that has only sharpened with age. In her mid-fifties at the time of this recording, the singer has a husky voice that tears at the edges, adding deeper emotion. Although the production leans toward the slick side, it leaves room for the singer to dominate each track. Walker, who wrote or co-wrote nine of these tunes, provides heart-tugging yet defiant material perfect for LaVette's take-no-prisoners approach. The singer plays the part of the scorned, aggressive woman, left behind but strong enough to know she's better off without that no-good scoundrel. Song tiles such as "Salt in My Wounds," "Serves Him Right," and "It Ain't Worth It After a While" tell the story without having to hear a lyric. LaVette squeezes every ounce of emotion from this material, lashing into it with a barely contained explosive delight. Like a stage actress, she builds up the tension gradually until igniting in a shower of yelps and repeated phrases similar to Otis Redding at his most impassioned. This is a powerful album -- moving, intense, and honest -- from an artist desperately making up for lost time. It's a success for everyone involved, and deserves to put Bettye LaVette back on American stages where she belongs. ~ Hal Horowitz This album has been a long time coming. Bettye LaVette is one of the all-time R&B greats; yet, aside from European releases, this new CD marks only the second time her talents have been showcased in a full-length album. Here she's joined by three-time Gr Recorded Doghouse Studios, Burbank, California. Includes liner notes by David Freeland. Personnel: Mike Turner (guitar, acoustic guitar); Alan Mirikitani (guitar); Tom Peterson (tenor saxophone, baritone saxophone); Bruce Paulson (trombone); Rudy Robinson (keyboards); Lee Spath (drums); Cynthia Bass (background vocals). Audio Mixers: Dennis Walker; Alan Mirikitani; Bettye LaVette. Recording information: Doghouse Studios, Burbank CA. Photographer: John DeLeon. Personnel includes: Bettye Lavette (vocals); Mike Turner (acoustic guitar); Bobby Murray, Alan Mirikitani (guitar); Rudy Robinson (keyboards). ...

Evidence: The Complete Fame Records Masters CD music A Southern soul legend to aficionados, but a relative unknown to just about everyone else, Candi Staton was given a serious re-examination via this self-titled anthology released on Astralwerks in 2004. At 26 tracks, the collection brings together nearly everything Staton recorded with Rick Hall at his legendary Fame Studios in Muscle Shoals, Alabama, spanning the years 1967 to '73. Staton never garnered the same fame as other visitors to Hall's studio--Aretha Franklin and Wilson Pickett among them--but one listen to her strong, proud voice on "I'd Rather Be An Old Man's Sweetheart (Than A Young Man's Fool)" or the way her sultry Deep South lilt unfurls on "He Called Me Baby," and it's clear that while Aretha might be the Queen, Candi's an esteemed member of the court. Staton would go on to have some disco hits in the later '70s before turning almost entirely to gospel, and though she's in fine voice during both of those stages, those cuts simply don't stack up to the sides found here. This is essential stuff. Candi Staton Stands as One of the Undisputed Queens of Soul, and this Compilation Brings Together her Long Unavailable and Legendary Muscle Shoals Sides Recorded for Fame Records, 26 trax Recorded at Fame Studios, Muscle Shoals, Alabamba between 1969 & 1973. Includes liner notes by Tim Tooher. Personnel includes: Candi Staton (vocals). Producer: Rick Hall. Compilation producer: Mark Ainley. Producers: Marcus Williams, Jerry Peters. Compilation producer: Myra Walker.

Evidence: The Complete Fame Records Masters songs With the release of Johnnie Taylor's Live at the Summit Club, the Concord label's takeover of the Stax catalog from its former owner, Fantasy, has already born fruit. This set is a club date recorded in 1972 as part of the WattStax: The Living Word documentary. Taylor was bumped from the festival lineup on the day of because of time overruns. He was booked into the club with his own band and an expanded set of Los Angeles musicians. The ten cuts here have never been issued unedited, and only one, an edited version of "Jody Got Your Girl and Gone," made the film, and three others were on earlier LPs as edited versions. The performance by Taylor is electrifying. He's in a club in front of the City of Angels regulars who, according to the notes, were "fur-lined players and ice cold hustlers." Given the film stills in the booklet, this observation proves to be true. Taylor is far from intimidated, however; he simply delivers an authoritative, strutting, burning performance that engages the audience at street level. They are active participants in what makes this date so special. The band is ragged and sometimes a bit off harmonically, missing cues (especially early), but Taylor doesn't miss a step. He chides them semi-regularly -- the first time happens at the beginning of "Steal Away," a Jimmy Hughes ballad he ramps up into a funky burner after his amazing read of Isaac Hayes' and David Porter's "Little Bluebird." He simply tells them to pick it up because they've been dragging all night. "Who's Making Love," his smash 1968 hit, is here as a full-blown audience participation number, and works to stunning effect. Cuts like "I Don't Wanna Lose You," "Hello Sundown," and "Stop Doggin' Me" simply come off like the lost funky soul Holy Grail that they are. The sound is impeccable, as the music was recorded for possible inclusion in the film -- he tells the crew to get their stuff out of his way at one point. This one cannot be recommended enough. ~ Thom Jurek

Evidence: The Complete Fame Records Masters album for sale This lovingly curated Ace Records compilation traces the roots, trunk, and branches of that classic American genre, instrumental surf music. The 26-track collection goes back to the twangy '50s ditties of Link Wray and Duane Eddy, through chart topping '60s hits like Dick Dale's "Miserlou," through the lesser-known post-Beach Boys jangle of Eddie & The Showmen and Bob Hafner. It's a whammy-bar extravaganza that will enliven car trips and dance parties of discerning record geeks everywhere. The Birth Of Surf traces the evolution of instrumental surf music from its roots through to the minor classics and big surf hits of its peak year in 1963. Tracklisting: Ramrod - Duane Eddy & The Rebels, Crossfire - Johnny & The Hurricanes, Bulldog - The

Evidence: The Complete Fame Records Masters CD music This glorious collection features the A-sides of all 15 of Ms. Collier's Chess 45s, plus the best of the B-sides. Quality 60s Chicago soul, spanning the whole of the 60s. Ten of her singles A and B-sides have never been on CD before, a further four have Though Mitty Collier recorded fairly often for Chess throughout most of the 1960s, she experienced relatively little commercial success. A few of her singles -- "I'm Your Part Time Love," "I Had a Talk with My Man," "No Faith, No Love," and "Sharing You" (all included on this release) -- had some success on the R&B charts, but had Dusty Springfield not covered "I Had a Talk with My Man," Collier would be even more obscure than she is. This anthology collects all 15 of her Chess A-sides, as well as nine of the cuts used on their flips. It might not quite make the case for her as a major lost talent, but it's highly worthwhile soul for those with a taste for something that's both earthy in performance and commercial in production. Collier had a considerably deeper, somewhat huskier voice than most woman soul singers, often taking a more assertive, no-nonsense attitude than was the norm for the era. As to why she didn't have more success, it's down to the most common reason: the songs themselves usually weren't that arresting, though some were quite decent. The best ones here tend to be the earlier tracks, especially "I Had a Talk with My Man," an inspired fusion of gospel and soul; "Walk Away," an intense ballad that also bears a heavy gospel influence; and her admirably tough reworking of Little Walter's "My Babe." Also of note are "My Party," which is almost frighteningly despondent in its full-throated anguish; "I'm Your Part Time Love," a soul-blues answer record to Little Johnny Taylor's "Part Time Love"; and "Miss Loneliness," a 1963 single that's a little poppier than most of her singles, and sounds more worthy of getting some airplay. Chess' production and arrangements are usually stellar on these sides no matter what the era, especially so on some sumptuously orchestrated mid-'60s efforts. ~ Richie Unterberger

Evidence: The Complete Fame Records Masters buy CD music Among hardcore R&B mavens, Ella Washington remains one of the cult heroines of late-1960s/early-'70s Southern soul. The collection HE CALLED ME BABY may be the definitive collection of Washington's work, boasting 28 tracks including the celebrated recordings she made for Monument Records subsidiary Sound Stage 7, as well as some unreleased material. Through all of it, Washington's emotionally complex, viscerally passionate delivery is arresting, and the arrangements span everything from soul strolls to funk-tinged workouts. Ella Washington is highly acclaimed by southern soul fans for the tracks she recorded with producer John Richbourg for Sound Stage 7. This album features almost all of those historic recordings which were cut in Memphis, Nashville and Muscle Shoals from Liner Note Authors: John Ridley; Paul Mooney.