Aaron Sledge Timeless Rar
Perfection 6:31 > 07. Timeless 9:39 08. Love Is Easy 5:45 09. Blind Owl 7:05 > 10. Suitcase > Jam 10:22 > 11. I Can't Take It (cut) 5:49. Disc Two 37:01 01. Give It Up 6:14 02. No Matter What 2:34 > 03. Only You Know And I Know 9. Primal Concrete Sledge 7. I'm Broken & By Demons Be Driven 8. Cowboys from Hell. 7984cf4209 Download j williams ft. K one - night of your life Jase ft. Mike Murphy - Another chance Brenda - If i had my way Aaron Sledge - Alallee Dontae Peeps - She know.J. WILLIAMS - GHETTO FLOWER.
Recorded in Memphis in the blackest of soul styles, Bobby “The Preacher” Womack’s Understanding overflows with raw energy and emotion. Blurring the lines between Southern soul, funk, and gospel, the album’s rough edges reflected something fundamental about life in Black America and the need to reach for something higher. Womack had learned well from his idol Sam Cooke that the people wanted to hear about something besides love. In the gritty “Simple Man,” Womack preaches to his brothers and sisters:”Hang on in therewe don’t live on a hill, but we stand just as tall.” At the time he wrote the songs for Understanding, Womack was a man of considerable talents who had too little to show for it in the way of successful solo records.
An always in demand studio musician, Womack’s influential guitar playing helped define such eternal classics as Sam Cooke’s “Bring It On Home,” Wilson Pickett’s “Funky Broadway,” Aretha Franklin’s “Chain of Fools,” and “Family Affair.” By 1972, his singing and songwriting had matured to such an extent that only an act of God could have kept him from storming the charts. “Woman’s Gotta Have It,” one of the album’s three Womack originals, shot up to the very top of the R&B charts in that golden funk summer of ’72. This mid-tempo soul-funk ballad starts off with a sensuous bass line straight out of Marvin Gaye’s With its simple message about how to keep a woman happy–“You gotta giver her what she wants when she wants it / Where she wants it / And how she wants it”–the song touched a chord with audiences like few other Womack songs ever have. A bubble gum-soul cover of Neil Diamond’s “Sweet Caroline” was released as the follow up single to “Woman’s Gotta Have It.” While it managed to impressively crack the white-dominated Pop Charts, its mellow B-side “Harry Hippie” was embraced as the “black side” by black radio, driving it into the R&B Top Ten (and, surprisingly, into the Top 40 on the Pop Charts).
“I Can Understand It” is the album’s funkiest and most complex track, made with timeless production values: a driving and loudly mixed bass/drum groove, a tight gospel chorus of soul sisters, lush touches of strings, and Womack’s belting vocals and fuzz guitar. While this compelling Womack original never charted, New Birth turned it into a No. 4 R&B hit when the band covered it in 1973.
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His most consistently satisfying album, Understanding captures Womack at the peak of his powers. This is the one to get. 2 As compelling as Bobby Womack ‘s lacerating baritone may be, it still has that uncanny ability to be an engaging voice.
This album has that timeliness appeal. It features the chart-buster in the mid-tempo number “Woman’s Gotta Have It.” It was a number one single on the Billboard R&B charts.
In addition to the aforementioned song, Womack also features a host of other granite numbers like “Ruby Dean” and “I Can Understand It.” The latter, penned by Womack, was also covered by New Birth. Both versions are excellent.
However, Womack’s version has a soothing effect as it employs a sensuous string arrangement while New Birth’s rendition is rather funky, retaining a spirited horn arrangement. Womack’s version was never a release. “Harry Hippie” is a narrative about his brother and former bandmate Harris Womack.
It checked in at number eight. The Ohio native’s unique trait to calm a song with his blistering baritone re-surfaces on “Sweet Caroline,” the album’s third and final release. For a song to be so sweet and gentle, Womack enhances the flavor of this sentimental number with a heartfelt, soulful approach. It slipped into the Top 20 at 16. By all standards, this album is stirring.
He didn’t play guitar on Chain Of Fools. That was Joe South and Jimmy Johnson. This Is a great album. I think The Facts Of Life always get’s overlooked.
In fact what makes him so great is that he had a run of about 7 good albums. The great Soul singers tend to make 4 great LP’s as good as anyone. Bobby most certainly did that. Communication / Understanding / Facts Of Life / Looking For A Love Muscle Shoals and Memphis Gold.
Aaron Sledge Timeless Rar Player
Worth a listen is his later Muscle Shoals tracks as well: Something For My Head / How Long / Home Is Where The Heart Is. He talks about Sam Cooke being the greatest thing ever!
Bobby’s better when it comes to REAL Soul.
Richie Furay was one of the three singer-songwriters (along with and ) in Californian folk-rock group. Compared to the other two he didn't contribute much in the terms of songwriting, but the few songs he did contribute were strongly suggestive of a country-rock style. When Buffalo Springfield broke up, Furay decided to form a new group with guitarist/bassist/engineer Jim Messina (who had been a member of the Springfield in their last days) and pedal steel guitarist Rusty Young (who had played steel on Furay's 'Kind Woman') to explore this country-rock sound further. The founding lineup of Poco was Richie Furay (lead vocals/rhythm guitar), Jim Messina (lead guitar/vocals), Rusty Young (pedal steel/dobro/banjo/guitar/mandolin), Randy Meisner (bass/vocals) and George Grantham (drums/vocals). Poco emerged as one of the earliest country-rock bands (alongside and the late-era ) - though many artists and groups were experimenting with country-styled material, they were one of the first rock bands to completely emerse themselves in it. Their debut LP, Pickin' Up The Pieces, established their signature sound - up-beat country-styled music highlighted by sweet vocal harmonies and instrumental virtuosity courtesy of Rusty Young's pedal steel. Furay was the lead singer and principle songwriter on this first album, and it was produced by Messina.
The title track has become one of their signature songs, and though the album wasn't much of a commercial success it proved highly influential in the emerging country-rock genre. Randy Meisner didn't stick around long - he left the band before the album was released, and went to play more country-rock with 's Stone Canyon Band, and later with The Eagles. He was replaced by Timothy B. Schmidt (who would bizarrely also replace him in The Eagles years later). (1970). Anonymous said. Do you have Ian & Sylvia Play One More?
Bill Steve Kramer said. An extremely underrated and under-appreciated part of the late '60s music scene. Not completely timeless but still very listenable nearly 50 years later! Hi, listen, I'm pretty new on this blogosphere and Internet thing, so I don't know if there's a sort of 'subscription' method that I can use in order to receive notifications of your new entries.?
Thing is I enjoy reading your blog a lot and I'd like to be up to date with your posts! Richie Furay is one my favorite singers, songwriters, interpreters.even in his very Christian records.I've Got aReason is asuperb album. Thanx for sharing this Poco album.a great album from a great band. Al Anonymous said.
I saw Poco in 1974 at the Paramount Theatre in Seattle. They were top of a triple bill and had to follow a blistering set by Robin Trower. Though Richie Furay was long gone by this time, they were really great and did not disappoint. There's a very good audience recording of their set at dimeadozen.org. It sounds good and confirms my memory of their excellent performance.