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Ealey, Theodis - I'm The Man You Need CD Cover Art
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Theodis Ealey I'm The Man You Need CD

 Theodis Ealey Discography of CDs

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Photographer: Bruce Billups.

Personnel: El' Willie (horns); Buzz Amato (piano, organ); Robert & The Groovers Williams (background vocals).

I'm The Man You Need Music


Detailed I'm The Man You Need Music Information



List Price $17.98 (You save $5.03)
Category Rock/Pop Albums, Blues CDs, Urban Soundtrack, Contemporary Blues, R&B
Label Ifgam
Orig Year 2006
All Time Sales Rank   38353  
CD Universe Part number 7311777
Catalog number 18
Discs 1
Release Date Nov 07, 2006
Studio/Live Studio
Mono/Stereo Stereo
Producer David Council; Bruce Billups; Theodis Ealey
Personnel Buzz Amato - piano, organ
El Willie - horns
Robert & The Groovers Williams - background vocals
Additional Info Bonus Track
Theodis Ealey I'm The Man You Need Songs


Theodis Ealey I'm The Man You Need Album Track Listing



Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample1.Sumpin' Sumpin'$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample2.Pop That Middle$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample3.Please, Let Me In$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample4.I'm the Man You Need$0.99
5.Let It Go One (Medley with Rock Me Tonight and Sexual Healing): Sexual Healing / Rock Me Tonight
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample6.Baby, Why?$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample7.Looking Up at the Bottom$0.99
8.Stand Up in It - (Remix, remix)
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample9.You and I Together$0.99
Windows MediaWindows MediaRealAudio MediaRealAudio MediaMP3 Track Sample10.Theo's Groove$0.99
11.Reason for the Season, The - (Bonus Track)

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4 Black String Bands, Vol. 3: 1919-1920 CD  (2000) Import

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Here's a treasure trove of rare ragtime, pre-jazz pop, and antiquated dance music recorded in London for the budget Edison Bell Winner label between February 1919 and November 1920 by an Afro-American string band known both as the Versatile Three and the Versatile Four. Popular taste at that time called for sweet vocal harmonies, sentimental waltzes, zippy topical novelties, and danceable ditties. Stylistically, these old records have a lot in common with Noble Sissle's earliest recorded works, an appropriate comparison as Noble Sissle, Eubie Blake, James Reese Europe, and the Versatile Three/Versatile Four moved in some of the same professional circles before, during, and immediately following the First World War. The Versatile Four started making records in 1916 (see Document 5623 -- The Earliest Black String Bands, Vol. 2: Dan Kildare); by February 1919 the Versatiles had downsized to from four to three. The first four tracks on this disc heavily feature the singing and banjoline playing of Gus Haston and Anthony Tuck, with piano accompaniment by Charlie Mills. Four sides recorded in September 1919 feature Haston blowing the C-melody saxophone, an instrument he continued to use throughout this period. A dramatic difference in tempo and mood occurs when George Archer plays the drums on "After You've Gone" and "What Do You Mean by Loving Somebody Else When Your Love Belongs to Me?" Back down to three for the session that took place on or around March 11, 1920, Haston, Tuck, and Mills got in step with the prevailing pace of postwar entertainment by working up renditions of "I've Got My Captain Working for Me Now" b/w "And He'd Say 'Ooo-La-La, Wee-Wee'." Beginning in July ...
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The title of this two-CD compilation rather wildly overstates its importance, as does the subtitle "the most important artists, the classic performances, the key songs." Few would consider, for example, Little Esther's "Lost in a Dream" or Big Joe Turner's "S.K. Blues" among the greatest blues cuts of all time, and as significant as Helen Humes and Willie Love may be, few would consider them among the most important blues artists. Putting the over-hype to the side, this is a decent and wide-ranging, though unfocused, collection of 32 blues songs spanning the 1930s to the 1990s. Everything here is worthwhile, and a few of the cuts are indeed certified classics: Big Mama Thornton's "Hound Dog," Muddy Waters' "Still a Fool," B.B. King's "Sweet Sixteen, Pts. 1-2," Junior Wells' "Hoodoo Man Blues," and Canned Heat's "Goin' Up the Country." Plenty of other major blues performers are represented, too, including Robert Johnson, Memphis Minnie, Elmore James, Lightnin' Hopkins, Son House, Sonny Boy Williamson, John Lee Hooker, and Albert Collins. The track selection, however, seems on the arbitrary side, favoring lesser-known performances that aren't necessarily as good as the artists' more celebrated sides, and sometimes not nearly as good: no one would put "Lazy Poker Blues" among the Peter Green version of Fleetwood Mac's top moments, for instance. There are also some cuts that are not so much blues as blues-influenced (Tom Waits' "Get Behind the Mule," Doc & Merle Watson's "Mississippi Heavy Water Blues"). The irreverent flexibility of the apparent criteria ...
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