Doc Powell - Love Is Where It's At 1983

Doc Powell

Given Doc's reputation for musical excellence it's no surprise the guitarist was able to assemble an all-star lineup for his album "Laid Back". Laid Back features performances by bassists Stanley Clarke and Marcus Miller, percussionist Sheila E., flutist/saxophonist Najee, soprano saxophonist Boney James, keyboardist Patrice Rushen, pianist Bobby Lyle and tenor saxophonists Gerald Albright and Kirk Whalum. "Its just a perfect example of reaping what you sow," the guitarist says, explaining how he was able to pool such stellar talent for his album. "My reputation speaks for itself."
On his Discovery Records album Laid Back, guitarist/producer/arranger Doc Powell creates luxuriant contemporary jazz with a cool R&B underpinning. Produced by "The Doctor" himself the album features 11 tracks ranging from satiny fusion to soul-kissed balladry and sensitively rendered interpretations. These various musical settings provide Doc with a forum for his unique guitar technique - a warm sound accented with occasional bursts of virtuosi flash.
Doc's ability to bring out the best in a song has not gone unnoticed by the music industry. A revered session musician Doc Powell rose to renown as a fixture of Luther Vandross's recording and touring band. During a career spanning 15 years Doc has performed with such heavyweights as Aretha Franklin, Quincy Jones, George Benson, Dionne Warwick, Al Jarreau, Teddy Pendergrass, Vanessa Williams, McCoy Tyner and the late Phyllis Hyman. His distinct guitar sound has been heard in popular commercials, hit movies and Emmy Award-winning soap operas. But Doc is more than just a supporting player. A compelling solo artist in his own right, he received a Grammy nomination for his 1987 interpretation of the Marvin Gaye classic, "What's Goin' On."
The result of this musical summit is a contemporary jazz masterwork. Avoiding the indulgent improvisations that marr some modern jazz recordings, Doc plays memorable melodic passages over insinuating grooves. It's a considerate approach that makes Laid Back a richly satisfying listening experience.
"It's a very melodic record without being too aggressive or showy," Doc says. "When I play I don't think about trying to impress people with how fast I can play. I concentrate more on playing from the heart. That makes it more of a spiritual experience for me. It's that emotion that excites me."

-give it up
-love is where it's at
-what's going on
-bad times
-what I like
-love finds a way
-don't waste my time
-let you know
-M&M

Deniece Williams - I'm So Proud 1983

Deniece Williams

Deniece Williams came to the attention of Soul fans towards the tail end of 1976, with the release of her excellent album, 'This Is Niecy'.
During her childhood, Deniece sang in a Pentecostal Gospel Choir.
By the late 1960's she was recording for the Chicago based Toddlin' Town label under the name of Deniece Chandler.
'I Don't Wanna Cry'
Her debut 45 was 'Love Is Tears' b/w 'Walking Away', others included the ballad, 'I Don't Wanna Cry' b/w 'Good Bye, Cruel World' (Toddlin Town 118) in 1969.
She also recorded for the Lock imprint at that time.
In addition to her musical activities, Deniece trained for the medical profession as a nurse at Baltimore's Morgan State College.
Spotted by Stevie Wonder she was hired by him, in 1972, joining his Wonderlove vocal backing group.
Deniece added her vocal input to four of the man's albums before departing that stable in order to pursue a solo career.
Signing to Columbia, she released, the aforementioned, 'This Is Niecy', an album produced by Maurice White of Earth, Wind and Fire, for his Kalimba imprint.
The album included the U.K. hits 'That's What Friends Are For' and the number 1 song 'Free' (part penned by ex Supreme Susaye Green) which was later revived in 1990 by British group BEF for their 'Music Of Quality & Distinction Vol II' album of cover versions.
In 1977, the album 'Song Bird' was released, and featured the number 13 single 'Baby, Baby My Love's All for You.'
The following year, Deniece teamed up with Johnny Mathis for the ballad 'Too Much, Too Little, Too Late'.
This was followed by an album of duets by the couple entitled, 'That's What Friends Are For'.
Deniece then relocated to Maurice White's own label, ARC, for two releases.
In 1981, 'My Melody' contained the ballad 'Silly' and 'It's Your Conscience', which were highly popular amongst Soul fans.
She then recorded her own version of the 1965 song 'It's Gonna Take A Miracle', produced by Thom Bell, returning her to the U.S. Top 10 in 1982 (taken from the album 'Niecy' on CBS).
1983 saw the release of the album 'I'm So Proud', the set being produced by the Fusion artist George Duke.
Deniece then recorded the song, 'Let's Hear It For The Boy', a track originally made for the soundtrack of the 1984 film 'Footloose', the song topping the charts that year.
Deniece left secular music from time to time, appealing mainly to the R & B audience's.

Tracklisting:

A1 Do What You Feel (4:24)
A2 I'm So Proud (3:55)
A3 So Deep In Love (4:22) Featuring - Johnny Mathis
A4 I'm Glad It's You (3:28)
B1 Heaven In Your Eyes (4:54)
B2 They Say (7:10)
B3 Love, Peace And Unity (5:36)
B4 It's Okay (5:26)

Lou Rawls - Love All Your Blues Away 1986

Lou Rawls

Lou’s voice is as distinctive and instantly recognizable as any in music. It all began on December 1, 1933, in Chicago with the birth of a boy, who would become the legendary Lou Rawls. From Lou’s early days in gospel, his collaborations with Sam Cooke, “The Dick Clark Show” at the Hollywood Bowl in 1959, the opening for The Beatles in 1966 at Crosley Field in Cincinnati, his monologues in the 1970s that presaged rap music to becoming a “crossover” artist before the term was invented, there has been one constant in Lou Rawls’ career––a voice that one critic proclaimed was “sweet as sugar, soft as velvet, strong as steel, smooth as butter.”
Lou’s 52 years in entertainment as a recording artist, included an astonishing 60-plus albums, three Grammy wins, 13 Grammy nominations, one platinum album, five gold albums and a gold single and a Star on the Hollywood Hall of Fame. Lou has epitomized the ultimate song stylist. "I've gone the full spectrum--from gospel to blues to jazz to soul to pop--and the public has accepted what I've done through it all. I think it means I've been doing something right at the right time."
Not surprisingly, Lou began his career singing gospel. He was raised on the South Side of Chicago by his grandmother and became a member of his Baptist church choir when his was seven-years-old. As a teenager, Lou's horizons expanded with trips to The Regal Theatre to see Billy Eckstine, Arthur Prysock and Joe Williams. "I loved the way they could lift the spirit of the audience," Lou often stated. Influenced, as well, by doo-wop, Lou would harmonize with high school classmate Cooke and together they joined groups including The Teenage Kings Of Harmony.

1) Change Your Mind
2) Are You With Me
3) Love All Your Blues Away
4) Stop Me From Starting This Feeling
5) Learn To Love Again
6) Willow Weep For Me
7) We'll Be Together Again
8) The Way You Look Tonight
9) It Never Entered My Mind

Stevie Woods - ATTITUDE 1983

Stevie Woods

Had a pretty brief moment in the sun. The guitarist signed with Cotillion Records and released Take Me To Your Heaven in 1981. It's actually a bit of a stretch to label Take Me as Soul music. It was actually one of the early "Brown Eyed Pop" releases that would rise in popularity the 80s from artists such as Lionel Richie and Atlantic Starr. Take Me boasted an A-Team of backing musicians, including Ray Parker, Toto's Steve Lukather and Chicago's Bill Champlin, with international producer Jack White at the helm. White had a talent for gathering great songs from around the world and working to be the first to release them in America with one of his proteges, such as Woods and Laura Branigan. And Take Me was so doggone melodic and hooky front to back that the White formula actually worked pretty well, despite rather bland production. Woods, sounding like a young, hip Johnny Mathis, breezed through the material beautifully. The album's first single, "Steal the Night," was a crossover smash, hitting the top 30 on the Pop charts and slightly lower on the Black Charts.

1 - Make Up Break Up.mp30

2 - Ain't That Peculiar.mp30

3 - Outside Myself.mp30

4 - State Of Our Affair.mp30

5 - Lovin' You.mp30

6 - Heart (Stop Beatin' In Time).mp30

7 - Outrageous.mp30

8 - You Blow Me Away.mp30

9 - A Love So Right.mp3

Rufus - Seal in red 1983

Rufus

Grammy Award winning R&B Super Group
Best known for their Gold & Platinum chart topping hits �Ain�t Nobody,� �Tell Me Something Good,� and �Sweet Thing� with vocalist / diva, CHAKA KHAN, is touring with original Founding Musicians and Grammy Award Winners; Andre Fischer & Bobby Watson. Also included are Niki Haris, Jeff Leib Lee Curreri, Fred Jenkins, Donna Taylor, Kandace Lindsay and Romeo Johnson who continue the RUFUS musical legacy of original Neo Soul, bridging old school with hip-hip, jazz, pop, and funky rock.
Andre Fischer: Natalie Cole, Brenda Russell and Michael Franks
Bobby Watson: Michael Jackson, Rene Moore and Angela Winbush

Tracks :

1. Take It to the Top - 4:15

2. Time Is Right - 4:22

3. When I Get over You - 4:28

4. You Turn Me All Around - 3:11

5. You the night and the music - 3:53

5. Blinded by the Boogie - 3:27

6. I'm Saving This Love Song - 4:01

7. You're Really Out of Line - 3:43

8. Distant Lovers - 3:31

9. No Regrets - 4:01

Patti Austin - Patti Austin 1984

Patti Austin

Classy soul from Patti Austin -- working here with some great help from Quincy Jones, Narada Michael Walden, and others -- all of whom help her find just the right space to groove nicely! Patti's one of those soul singers who always sparkles best in a smoother setting -- and the polished mid 80s style of this one helps her hit a new level of maturity -- one that shines out strongly, even amidst some of the more electric backings -- with enough jazzy inflections to remind us of Patti's roots, and her long association with Quincy Jones over the years. Titles include "It's Gonna Be Special", "Shoot The Moon", "Rhythm Of The Street", "Fine Fine Fella", "Starstruck", "Any Way You Can", and "Change Your Attitude".

Tracks:

1. It´s gonna be special

2. Rhythm of the heat

3. All behind us now

4. Hot: In the flames of love

5. Change your attitude

6. Shoot the moon

7. I´ve got my heart set on you

8. Fine fine fella (Got to have you)

9. Starstruck

10. Any way you can

Kenny Pore - YOU DON'T KNOW ME 1985

Kenny Pore

Finding the source of his musical ideas
Kenny Pore's uniquely American musical journey takes another large step toward his goal of personal maturity with this collection of CDs. His journey has been rough-edged at times and it has been filled with elements familiar to generations of restless young people in both literature and reality: a gritty path through life chosen by an eager and hungry high school drop-out, searching urgently for something he hardly understood himself. The search encompassed far more than merely a quest for his musical vision; it led Kenny to his appreciation today of the value of family ties and friendships, to the fundamentals of a balanced life. But in another sense, Kenny came to see eventually that the search itself was in part the prize, a rich source of his musical ideas. Such an experience has been shared by many artists —— prose writers, painters, poets, sculptors —— all of them gaining strength from the good and bad times. In Kenny's case, it provided him, and the rest of us who relish his work, with the basis for a musical legacy that is gaining in reputation. This CD collection is certain to increase the pace of the recognition his work deserves.
The journey starts
Kenny Pore was born into a musical family on a cold mid-winter's day in Chicago, Illinois, in 1952. His grandfather was one of the original craftsmen making Gibson guitars in Kalamazoo, Michigan. His stepfather, Jimmy Zitano, was a jazz drummer in Al Hirt's band and had worked at various times with Cannonball Adderley, Billie Holiday and Miles Davis. The family stereo was always spinning swing jazz, Coltrane and the like. To hear his rock records, Kenny had to retreat to his room to play them on a cheap player with pennies taped to the arm so that the needle wouldn't skip. Your stuff will distort the speakers on the stereo, his stepfather told him. With his stepfather playing in clubs and his mother working late as a cocktail waitress, Kenny's house attracted a lot of his buddies who brought their instruments over to jam. It also attracted the police —— because neighbors complained about the noise.

YOU DON'T KNOW ME
WALKING WITH YOU
MY HEART KNOWS
LIFE WITHIN
THOUGHTS OF YOU
KNOW THAT YOUR HEART IS RIGHT
DIANNA