Jul 05

Jherek Bischoff – Cistern (2016)
FLAC (tracks) 24-bit/88,2 kHz | Time – 43:51 minutes | 851 MB | Genre: Pop, R&B
Studio Master, Official Digital Download – Source: Bandcamp | Artwork: Front cover | © The Leaf Label

Jherek Bischoff is a multi-hyphenate musician from the Pacific Northwest currently living in Los Angeles. Equal parts composer, producer, performer & film scoring professional. In his 30 odd years of life, he has played in many bands and musical configurations, mostly of the DIY variety, including Parenthetical Girls, the Degenerate Art Ensemble & The Dead Science. Cistern is an album inspired by time Bischoff spent improvising in an empty, two-million-gallon, underground water tank, with a 45-second reverb decay. The unique acoustics of the space forced Bischoff to slow down and adapt his compositional approach – something which, unexpectedly, brought him back to his childhood, and the slow-pace of life he experienced growing up on a sailboat.

With well over a decade as a multi-instrumentalist sideman, arranger, producer, and songwriter/composer under his belt, Jherek Bischoff follows his acclaimed solo breakthrough, Composed, with Cistern. While Composed featured a number of guests (David Byrne, Caetano Veloso, and Nels Cline among them) and an orchestral sound, it was constructed one instrument at a time by Bischoff. Here, he’s joined by the 21-piece chamber ensemble Contemporaneous. An instrumental album, Cistern was borne out of recording experiments in a two-million-gallon water tank beneath Washington’s Fort Warden, a defender of Puget Sound. Bischoff found that if he snapped his fingers or cleared his throat, the reverberation in the empty tank lasted 45 seconds. That fact inspired the title track and influenced the slowed pace of the rest of the album. Its reflective character also draws on memories of his unconventional childhood aboard a sailboat in the Pacific with his parents. Piano tones, strings, an echoing drum, and tambourine open track one, “Automatism.” An atmospheric slow boil, the piece uses repetition and small changes for impact, but tremolos, percussiveness and, at times, performance muscle, keep it from ever drifting into the background. As the title and backstory suggest, reverb is a major player on the record, though it was recorded in a church rather than the underground tank. “Cistern” features a repeated melodic motif that works its way through a string arrangement that incorporates woodwinds, horns, and shimmering bells. Elsewhere, electronics blend with strings and obscure the tempo on “Cas(s)iopeia,” and dissonance creeps about trudging low strings on “The Wolf.” Even without prior knowledge of the composer’s nomadic youth, Cistern evokes adventure and the forces of nature. Landing closer to film scores and instrumental post-rock than to the quirkier chamber pop of Composed, Cistern doesn’t play out like a sequel, but fans of that album may well find themselves still drawn to the musician’s particular spark.

01 – Automatism
02 – Closer to Closure
03 – Cas(s)iopeia
04 – Headless
05 – Lemon
06 – Attuna
07 – The Wolf
08 – Cistern
09 – The Sea’s Son

Produced, Mixed & Mastered by Jherek Bischoff.
Recorded by Patrick Higgins at Future-Past Studios, NY, except “4” by Robb Kunz.

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Jun 26

Ike & Tina Turner – Workin’ Together (1971/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 34:13 minutes | 1,24 GB | Genre: R&B
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Universal Music GmbH

The most successful album ever released by Ike & Tina Turner, 1971’s Workin’ Together blends Ike Turner originals with covers of popular songs from the Beatles and of course the couple’s signature tune and Grammy winner, Proud Mary by Creedence Clearwater Revival. Workin’ Together remains Ike and Tina’s highest-charting album, peaking at number 25 in the US, while Proud Mary sold over a million copies, reached number four on the Billboard Hot 100 and was inducted into the Grammy Hall of Fame in 2003.

Released early in 1971, a few months after Come Together, their first album for Liberty Records, Workin’ Together was the first genuine hit album Ike & Tina had in years; actually, it was their biggest ever, working its way into Billboard’s Top 25 and spending 38 weeks on the charts. They never had a bigger hit (the closest was their Blue Thumb release, Outta Season, which peaked at 91), and, in many ways, they didn’t make a better album. After all, their classic ’60s sides were just that — sides of a single, not an album. Even though it doesn’t boast the sustained vision of such contemporaries as, say, Marvin Gaye and Al Green, Workin’ Together feels like a proper album, where many of the buried album tracks are as strong as the singles. Like its predecessor, it relies a bit too much on contemporary covers, which isn’t bad when it’s the perennial “Proud Mary,” since it deftly reinterprets the original, but readings of the Beatles’ “Get Back” and “Let It Be,” while not bad, are a little bit too pedestrian. Fortunately, they’re entirely listenable and they’re the only slow moments, outweighed by songs that crackle with style and passion. Nowhere is this truer than on the opening title track, a mid-tempo groover (written by Eki Renrut, Ike’s brilliant inverted alias) powered by a soulful chorus and a guitar line that plays like a mutated version of Dylan’s “I Want You” riff. Then, there’s the terrific Stax/Volt stomper “(Long As I Can) Get You When I Want You,” possibly the highlight on the record. Though they cut a couple of classics over the next few years, most notably “Nutbush City Limits,” the duo never topped this, possibly the best proper album they ever cut. –AllMusic Review by Stephen Thomas Erlewine

1. Workin’ Together 03:36
2. (As Long As I Can) Get You When I Want You 02:25
3. Get Back 03:05
4. The Way You Love Me 02:38
5. You Can Have It 03:30
6. Game Of Love 02:47
7. Funkier Than A Mosquita’s Tweeter 02:35
8. Ooh Poo Pah Doo 03:37
9. Proud Mary 04:58
10. Goodbye, So Long 01:57
11. Let It Be 03:11

Tina Turner, lead vocals
Ike Turner, lead vocals (intro of ‘Proud Mary’)
The Ikettes, background vocals
Ike Turner & The Kings of Rhythm, all instruments

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Jun 23

Wilson Pickett – Hey Jude (1969/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:31:09 minutes | 1,24 GB | Genre: R&B, Soul
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Rhino Atlantic

For the First Time – Digitally Released As High Resolution Downloads 192kHz/24bit Classic Soul Titles from the Archives of Atlantic Records and Rhino Records.

With the music scene rapidly evolving, Wilson Pickett delivered a versatile outing with the release of Hey Jude. Produced by the legendary Rick Hall, the work incorporates some of rock’s finest tunes including “Born To Be Wild” and the Lennon & McCartney classic, “Hey Jude.” Displayed with funky arrangements, Pickett is joined by one of Rolling Stone’s “100 Greatest Guitarists of All Time,” Duane Allman. Found here is material penned by greats including Bobby Womack, Raymond Moore, Isaac Hayes and David Porter. Hey Jude remains another accomplishment in an illustrious career.

Wilson Pickett and the Muscle Shoals session crew with whom he cut most of his best work thankfully had the good sense to not try to go psychedelic when the pop charts went all day-glo in the late 1960’s, but that’s not to say they didn’t make an effort to change with the times. On Hey Jude, Pickett and producer Rick Hall decided to throw a couple of recent rock covers into the mix, and while Pickett’s version of “Hey Jude” suggests that he isn’t entirely sure what it is he’s singing about, he still belts it out with his typical level of commitment and builds up to a proper fury at the end; he sounds more comfortable with the neo-biker bombast of “Born To Be Wild”, a combination of artist and material that works far better than anyone would have a right to expect. But the most notable change in Pickett’s approach for this album was the addition of Duane Allman on guitar; his wirey, blues-accented leads don’t overpower the album, but they add a noticeably harder texture to the sound, and that seems to suit Pickett, one of the toughest soul shouters of his time, just fine. Most of the Hey Jude is dominated by hard Southern soul numbers like “A Man and a Half” and “Toe Hold”, and Pickett, one of the most dependable performers on the 1960’s soul scene, gives a typically con brio performance on all ten tracks, and the sharp report of the horn section and Allman’s blistering guitar makes for music just as potent as the wail of the lead singer, which is not an accomplishment to be sneered at. ~~ AllMusic Review by Mark Deming

1. Save Me 02:38
2. Hey Jude 04:07
3. Back In Your Arms 02:56
4. Toe Hold 02:49
5. Night Owl 02:22
6. My Own Style Of Loving 02:43
7. A Man And A Half 02:50
8. Sit Down And Talk This Over 02:21
9. Search Your Heart 02:45
10. Born To Be Wild 02:46
11. People Make The World 02:46

Wilson Pickett – vocals
Duane Allman, Jimmy Johnson, Albert Lowe – guitar
David Hood, Gerald Jemmott – bass
Barry Beckett – keyboards, piano
Marvell Thomas – organ
Roger Hawkins – drums
Gene Miller, Jack Peck – trumpet
Joe Arnold, Aaron Varnell – tenor saxophone
James Mitchell – baritone saxophone

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Jun 20

Aretha Franklin – The Queen In Waiting (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 59:30 minutes | 1,02 MB | Genre: R&B, Soul
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Columbia – Legacy

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. The Queen in Waiting is Aretha Franklin’s 2002 compilation album featuring popular tracks “God Bless the Child”, “Skylark”, “Only the Lonely” and “Try a Little Tenderness”. The album includes Aretha’s last Columbia recordings produced by Bob Johnston, noted for his work during this period with Bob Dylan; and songs that Columbia “sweetened” with new musicians after Aretha left the label.

1 Tighten Up Your Tie, Button Up Your Jacket (Make It for the Door) (Mono Mix) 01:57
2 (No, No) I’m Losing You 03:09
3 Why Was I Born? 02:52
4 Hands Off (Mono Mix) 02:13
5 Swanee 02:24
6 You Made Me Love You 02:34
7 Until You Were Gone (Mono Mix) 03:08
8 Mockingbird (Mono Mix) 02:36
9 Can’t You Just See Me (Mono Mix) 01:56
10 Today I Sing the Blues (Mono Mix) 02:47
11 Walk on By 02:51
12 One Room Paradise 02:01
13 Every Little Bit Hurts 02:44
14 Evil Gal Blues 02:43
15 Rough Lover 02:42
16 Trouble in Mind 02:07
17 Without the One You Love 03:38
18 Won’t Be Long 03:07
19 Take a Look 02:48

Previously Unreleased:
20 Runnin’ Out of Fools03:03
21 Skylark 06:10

Aretha Franklin, vocals, piano
Robert Mersey, arranger, conductor
Howard A. Roberts, arranger, conductor
Horace Ott, arranger, conductor

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Jun 20

Aretha Franklin – Unforgettable: A Tribute To Dinah Washington (1964/2011)
FLAC (tracks) 24 bit/96 kHz | Time – 40:02 minutes | 792 MB | Genre: R&B, Soul
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Columbia – Legacy

Unforgettable: A Tribute to Dinah Washington is the sixth studio album by American singer Aretha Franklin. Released on February 18, 1964, by Columbia Records, The album is a tribute dedicated to the recently deceased singer Dinah Washington. The sessions were recorded in New York. A few tunes were cut with strings in order to bring out the essential ballad character of the songs (with the help of Bob Mersey’s arranging); most of the tracks, though, were made with the assistance of a small and sympathetic accompanying group for which Mersey supplied minimal written guidance.

Since her youth Franklin had admired Dinah Washington, and it’s a safe bet that the level of emotional commitment Washington brought to her work was a major influence on the blossoming style of Aretha, not to mention Washington’s effortless sense of swing. Shortly before she died, Washington took appreciate notice of her acolyte as well. So Aretha’s tribute to Washington is as logical as it is satisfying. Recorded when Aretha was just 21, UNFORGETTABLE is somewhat of a departure from her more R&B-oriented early work. However, the string arrangements of Johnny Mersey adn the jazzy bass work of George Duvivier mesh perfectly with Franklin’s high-flying vocal fireworks. From the slow, subtle caress of “What a Difference a Day Made” to the organ-led blues of “Nobody Knows the Way I Feel This Morning,” the young Aretha is in total command of the material here, simultaneously paying homage to and progressing from the influence of Washington. ~~AllMusic Review

1. Unforgettable 03:41
2. Cold, Cold Heart 04:36
3. What a Diff’rence a Day Made 03:31
4. Drinking Again 03:28
5. Nobody Knows the Way I Feel This Morning 05:11
6. Evil Gal Blues 02:41
7. Don’t Say You’re Sorry Again 02:45
8. This Bitter Earth 04:35
9. If I Should Lose You 03:36
10. Soulville 02:21

Bonus tracks:
11. Lee Cross (mono) 03:05

Aretha Franklin, vocals, piano
Ernie Hayes, piano, organ
Paul Griffin, organ
Teddy Charles, vibes
George Duvivier, bass
Gary Chester, drums
Ernie Royal, trumpet
Buddy Lucas, tenor sax, harmonica
Bob Asher, trombone
Strings arranged and conducted by Robert Mersey

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Jun 20

Aretha Franklin – Yeah!!! In Person With Her Quartet (1965/2011) 
FLAC (tracks) 24 bit/96 kHz | Time – 01:14:43 minutes | 1,44 GB | Genre: R&B, Soul
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Columbia – Legacy

Yeah!!! (or Aretha Franklin In Person With Her Quartet) is the eighth studio album by American singer Aretha Franklin, Released on May 17, 1965 by Columbia Records. Contrary to the overdubbed sounds of audience murmurs, the album was not a live album, but instead was recorded live at New York’s Columbia Studios and produced by Clyde Otis. This would be Franklin’s last collection of jazz recordings until the release of 1973’s Hey Now Hey (The Other Side of the Sky), released during her landmark tenure at Atlantic Records. An expanded version of the album that also contains the original session tracks without audience overdubs has been released on CD in the Columbia Box Set Take A Look: Aretha Franklin Complete On Columbia.
Aretha Louise Franklin (born March 25, 1942) is an American singer and musician. Franklin began her career singing gospel at her father, minister C. L. Franklin’s church as a child. In 1960, at age 18, Franklin embarked on a secular career, recording for Columbia Records only achieving modest success. Following her signing to Atlantic Records in 1967, Franklin achieved commercial acclaim and success with songs such as ‘Respect’, ‘(You Make Me Feel Like) A Natural Woman’ and ‘Think’. These hits and more helped her to gain the title The Queen of Soul by the end of the 1960s decade.

Franklin eventually recorded a total of 88 charted singles on Billboard, including 77 Hot 100 entries and twenty number-one R&B singles, becoming the most charted female artist in the chart’s history. Franklin also recorded acclaimed albums such as I Never Loved a Man the Way I Love You, Lady Soul, Young, Gifted & Black and Amazing Grace before experiencing problems with her record company by the mid-1970s. After her father was shot in 1979, Franklin left Atlantic and signed with Arista Records, finding success with a cameo appearance in the film, The Blues Brothers and with the albums, Jump to It and Who’s Zoomin’ Who?. In 1998, Franklin won international acclaim for singing the opera aria, ‘Nessun Dorma’, at the Grammys of that year replacing Luciano Pavarotti. Later that same year, she scored her final Top 40 recording with ‘A Rose Is Still a Rose’.

1. This Could Be the Start of Something 01:30
2. Once in a Lifetime 03:21
3. Misty 03:38
4. More 01:50
5. There Is No Greater Love 04:40
6. Muddy Water 02:28
7. If I Had a Hammer 02:35
8. Impossible 03:22
9. Today I Love Ev’rybody 03:25
10. Without the One You Love 03:33
11. Trouble in Mind 02:54
12. Love for Sale 02:40

Bonus tracks:
13. Bill Bailey, Won’t You Please Come Home 02:15
Previously Unreleased:
14. Misty 03:36
15. Love for Sale 02:30
16. Once in a Lifetime 03:20
17. Today I Love Ev’rybody 03:24
18. Impossible 03:26
19. This Could Be the Start of Something 01:25
20. More 02:09
21. There Is No Greater Love 04:40
22. If I Had a Hammer 02:31
23. Muddy Water 02:29
24. Without the One You Love 03:41
25. Trouble in Mind 03:02

Aretha Franklin, vocals, piano
Kenny Burrell, guitar
Hindel Butts, drums
James Richardson, bass
Teddy Harris, piano

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Jun 18

Wilson Pickett – Right On (1970/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:38:23 minutes | 1,48 GB | Genre: R&B, Soul
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Rhino Atlantic

For the First Time – Digitally Released As High Resolution Downloads 192kHz/24bit Classic Soul Titles from the Archives of Atlantic Records and Rhino Records.

Right On is Wilson Pickett’s stunning 1970 studio recording. Proclaimed by Rolling Stone as one of the “100 Greatest Singers of All Time,” Pickett howls on tunes including “You Keep Me Hangin’ On,” “Funky Way,” “It’s Still Good” and “Sugar Sugar.” Right On charted on both the Billboard 200 and Billboard’s Top R&B Albums.

Wilson Pickett encountered a momentary slump in 1970, as this album was his first for Atlantic in many years that stayed locked in the bottom rungs of the pop Top 200 albums. Pickett did get a fluke novelty hit with “Sugar, Sugar,” maybe his worst soul smash ever. The album wasn’t a total disaster, but everyone forgot about it quickly when Atlantic rushed out Wilson Pickett in Philadelphia later that year. —AllMusic Review by Ron Wynn

1. Groovy Little Woman 2:38
2. Funky Way 2:36
3. Sugar Sugar 3:00
4. Sweet Inspiration 2:54
5. This Old Town 3:19
6. You Keep Me Hangin’ On 4:43
7. Lord Pity Us All 3:44
8. It’s Still Good 2:36
9. Woman Likes To Hear That 2:50
10. She Said Yes 3:15
11. Hey Joe 3:05
12. Steal Away 4:15

Wilson Pickett – vocals
Eddie Hinton, Jim O’Rourke, Jimmy Johnson – guitar
David Hood, Harold Cowart – bass
Barry Beckett, Billy Carter – keyboards
Roger Hawkins, Tubby Zeigler – drums
Cissy Houston, Jackie Verdell, John Utley, Judy Clay – background vocals

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Jun 08

Seal – 7 (2015) 
FLAC (tracks) 24 bit/48 kHz  | Time – 00:49:21 minutes | 591 MB | Genre: R&B
Studio Masters, Official Digital Download – Source: HDTracks |  Front Cover | © Warner Bros. Records

On 7, Seal explores love and all of its implications, idiosyncrasies, and intricacies – subject matter he began to delicately approach as early as 2013, knowing exactly where he wanted to go. “The album concerns the most sung about, most talked about, and most documented emotion-love,” Seal says. “I tried to capture all of the wonderfully different dynamics of love, whether it’s the anger, the acceptance, the bliss, the sadness, the elation, or the recklessness. It’s this emotion and the ways it makes us feel. It’s about the extreme joy and the extreme regret as well as all of the crazy things love makes us do.”

Seal 7 followed the all-covers 2012 set Soul 2 and was the singer’s first set of original material since the 2010 release Seal 6: Commitment. More significantly, it was his first originals-oriented collaboration with longtime creative partner and friend Trevor Horn since 2003’s Seal 4, and it was made in the wake of the singer’s divorce from Heidi Klum. The first single, “Every Time I’m with You,” a grand and swirling ballad with an orchestral arrangement from Anne Dudley, showed that Seal had no desire to make his return all about romantic conflict, as it placed him in the setting of a new relationship, willfully abandoning caution: “I can lose it all, it won’t be daunting.” Another song that reached the public prior to the album, the Jamie Odell co-composition “Life on the Dancefloor,” also dealt with being swept up, though in the club through a low-key groove. As with Seal’s previous albums, however, Seal 7 does cover a range of emotions. The heavier songs, including the opening “Daylight Saving,” the almost overblown “Padded Cell,” and “The Big Love Has Died,” with a title and scope worthy of Seal 4 — are among the most resonant moments. While one could speculate how those songs and the remainder of Seal 7 relate directly to Seal’s life, it’s clear that the singer and Horn aimed, as they always have, for broad appeal; just about anyone can connect with the pain and elation they relate. They’ve stuck to the approach that has made them a successful duo since “Crazy,” all the way down to the dark synthesized undercurrents. The spirit of Seal 7 proves that they had no reason to change course. —AllMusic Review by Andy Kellman

1. Daylight Saving 04:51
2. Every Time I’m With You 04:31
3. Life On The Dancefloor 05:15
4. Padded Cell 04:08
5. Do You Ever 04:37
6. The Big Love Has Died 04:30
7. Redzone Killer 04:23
8. Monascow 04:10
9. Half A Heart 03:55
10. Let Yourself 04:26
11. Love 04:35

Seal: vocals (all), programming (4, 7, 10)
Joel Peters: drums (1, 4, 5, 7), programming (4, 5, 9), percussion (7, 10)
Earl Harvin: drums (1, 2, 4), cymbals (4)
Ash Soan: drums (4, 5, 7, 9)
Abe Rounds: drums (8)
Aaron Horn: programming (1, 4, 7)
Stephan Moccio: piano (1), keys (1), programming (1)
Julian Hinton: keys (1), programming (6, 9)
Jamie Odell: keys (3, 8), programming (3, 4, 7, 8)
Cameron Gower Poole: programming (4, 5, 9, 10), percussion (7)
Dave McCracken: programming (4)
Justin Parker: keys (5), programming (5)
Anne Dudley: piano (5)
Tim Weidner: programming (5), sound FX (6)
Trevor Horn: bass (2, 3, 5, 7-9), keys (all), guitar (1, 4, 5), backing vocals (9)
Chris Bruce: bass (1, 2, 4, 6-8, 11), guitars (1, 4, 5, 7)
Jamie Muhoberac: bass (9, 10), piano (1, 2, 4, 5, 7, 9, 11), organ (2, 4, 9), keys (1, 2, 4, 5, 7-11), programming (1, 3-5, 7, 9-11)
Paul Turner: bass (4)
Simon Bloor: guitars (1-9), piano (4, 6, 10), keys (2, 7-10), programming (2, 3, 6, 10, 11)
Phil Palmer: guitars (2, 4-6, 8, 9)
Lol Crème: guitar (4, 7-9), percussion (9), backing vocals (9)
Josh Campbell: guitar (7)
Luís Jardim: percussion (1, 2, 5-7, 9, 10)
Paul Spong: trumpet (3, 8)
Steve Sidwell: trumpet (3, 8)
Andy Wood: trombone (3, 8)
Dave Bishop: saxophone (3, 8)
Minnetonka: backing vocals (4)
Mr Probz: backing vocals (4)
orchestral arrangement/orchestra conducted by Dudley (1, 2, 4, 6), Nick Ingman (5, 7, 10), Hinton (9)
additional orchestration: Hinton (6), Bloor (9)
brass arrangement: Sidwell (3, 8)

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Jun 04

Raydio – Rock On (Expanded) (1979/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 45:07 minutes | 1,63 GB | Genre: R&B, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Arista/Legacy
Recorded: 1978-1979, Raydio Studios; Mastered at A&M Studios

Ray Parker Jr.’s group Raydio released this album in 1979. The expanded edition features 2 bonus tracks.

To be taken seriously as an R&B group and to shake the stigma of their nursery rhyme hit “Jack and Jill” (their debut single), Raydio answers the call on this album with two Billboard R&B singles. The first is “You Can’t Change That,” a laid-back yet very danceable track; it features the vocals of the mild-tempered Ray Parker, Jr. and the distinctive tenor of Arnell Carmichael. The two alternate between the verses, and Carmichael ad libs in the vamp. “You Can’t Change That” resided on the R&B charts for 19 weeks, peaking at number three; it also reached the number nine position on the pop charts. The follow-up single, “More Than One Way to Love a Woman,” was a midtempo track that made it to the 25th spot on the R&B charts after a 13-week run. ~~AllMusic Review by Craig Lytle

1. What You Waitin’ For 04:12
2. Hot Stuff 05:16
3. You Can’t Change That 03:23
4. Rock On 05:06
5. More Than One Way to Love a Woman 05:44
6. When You’re In Need of Love 06:15
7. Goin’ Thru School and Love 04:17
8. Honey I’m a Star 03:41
9. More Than One Way to Love a Woman (7″ Version)    03:32
10. Rock On (7″ Version)    03:56

Ray Parker Jr. – vocals, guitars, bass, keyboards, synthesizers
Arnell Carmichael – vocals
Jack Ashford – percussion
Norma Jean Bell, Horatio Gordon– saxophone
Ollie E. Brown – drums, percussion, vocals
Charles Fearing – guitars
Ken Peterson – trumpet, vocals
Sylvester Rivers – piano
Larry Tolbert – drums, percussion
Cheryl Brown, Darren Carmichael, Valorie Jones, Francis Pearlman – additional vocals

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Jun 04

Raydio – Raydio (Expanded) (1978/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 47:21 minutes | 1,76 GB | Genre: R&B, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Arista/Legacy
Recorded: 1977–1978, Raydio Studios; Mastered at A&M Studios

Raydio is the self-titled album by American Funk band, Raydio. Ray Parker, Jr., the founder of the group, composed all of the songs on the album.

This was the first of three albums from Raydio. On this album, the group consisted of Vincent Bonham, Jerry Knight, Ray Parker, Jr. and Arnell Carmichael. Formed and fronted by veteran session guitarist Parker, this album produced three Billboard R&B chart singles. Beginning with the Top Ten single “Jack and Jill,” Raydio enjoyed national exposure with this single that peaked at number five after 25 weeks on the charts, and it reached the number eight spot on the pop charts, exceeding sales of 500,000. The less popular releases “Is This a Love Thing” and “Honey I’m Rich” respectively reached the 20th and 43th positions on the Billboard R&B charts. ~~AllMusic Review by Craig Lytle

1. Is This a Love Thing 06:14
2. You Need This To (To Satisfy That) 04:36
3. Betcha Can’t Love Me Just Once 03:54
4. Honey I’m Rich 03:12
5. Jack and Jill 04:35
6. Me 05:00
7. Let’s Go All the Way 03:28
8. Get Down 04:25
9. Is This a Love Thing (7″ Version)    03:47
10. Jack and Jill (Back Up the Hill) (1982 Version)    08:25

Ray Parker Jr. – guitars, vocals, recording engineer, mixing
Vincent Bonham – vocals
Arnell Carmichael – vocals
Jerry Knight – bass, vocals
Jack Ashford – tambourine
Ollie E. Brown – drums, percussion
Charles Fearing – guitars
Horatio Gordon – saxophone
Ken Peterson – trumpet
Melvin “Wah Wah” Ragin – guitars, voice box
Sylvester Rivers – piano
Sylvia Duckworth, Valerie Jones, Francine Pearlman, Rochelle Runnels, Janice Williams – background vocals

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