Recovered - Vol. 1 [2xLP]

A1 BILLY STEWART — Summertime • Chess [2:36]
(DuBose Heyward/Ira Gershwin/George Gershwin) 1966 UMG Recordings Inc. WB Music Corp. **)

Brrrrrrrrrrrrrrrrrrrrrrrrrab chack, chacka, chack a tack tack, huuuh - break - horns ... and welcome to one of the tightest and toughest Versions of "Summertime" ever recorded. With the help of producer Phil Wright's dynamic arrangement, Chicago soulman Billy Stewart turns the Gershwin/Heyward standard into a vocal/drum/horn tour de force of seldom heard intensity. Stewart who cut his teeth playing piano in Bo Diddleys band during the 50ies, was widely known for his eclectic fusion of R'n'B and Jazz. Unfortunately he died only four years after "Summertime's" initial release, never completely fullfilling his artistic potential.

A2 BUDDY GRECCO — Fever • Lark Music Ltd. [2:25]
(Al Cohn/J. Davenport/E. Cooley) 1961 Sony Music Entertainment Inc.

When the Rat Pack were in residence in Las Vegas during the 60ies, they relied heavily on the talents of one of Americas favorite pianists. Buddy Grecco, who started out in the Benny Goodman Band during the 40ies, recorded an amazing total of 65 albums during his career, ranging from Jazz and R'n'B to Country and MORish pop. On "Fever" he reminisices his Jazz-roots, swinging smooth and elegantly over a "cotton club"- styled big band arrangement of Little Willie John's classic.

A3 OSCAR BROWN JR. — Work Song • CBS/Columbia [2:30]
(O. Brown jr/N. Adderley)1966 Sony Music Entertainment Inc. • Upam Music Co.

It was Oscar Brown Jr.'s storming rendition of the Nat Adderly composition, that brought "Work Song" to the attention of such diverse artists as Grady Tate, Tommy Hunt, Nina Simone and Eric Burdon ... The wild, R'n'B based call and response structure especially became a favorite among afrophile british Blues invadors like the Pretty Things, the Yardbirds, the Animals ... who turned it into one of the archetypal blueprints for 60ies Rock. So, sit back and experience a little piece of history in the making ...

A4 MEL TORMÉ — Secret Agent Man • Columbia [2:33]
(S.Barri/P.F. Sloan) 1966 Sony Music Entertainment Inc. • Universal Studios Inc. MCA Music Publishing

If a sub-genre called Spy Lounge existed, Mel Torme's "Secret Agent Man" would definitley be at the top-list. His rendition of the Johnny Rivers tune replaces the original's guitar heavy, dark and ferocious mood with a horn-driven, glamourous and stylish take on the undercover profession. Lounge Galore!!!

A5 SAMMY DAVIS JR. — You Can Count On Me • MGM [2:07]
(Morton Stevens/Hermine Hilton) 1976 UMG Recordings Inc. • SBK April Music Inc. **)

Serving as the title theme for the 1968 TV-hit series Hawai 5-0, "You Can Count On Me" became an instant "A-Go-Go" classic. With Sammy Davis Jr. adding vocals to a rollicking rendition by the Mike Curb congregation, the song takes on a Rat Pack swagger and proves that "Mr. Candy Man" - if provided with the right material - had a very funky side as well ...

A6 IRENE REID — Son Of A Preacher Man • Polydor [2:24]
(John David Hurley/Ronnie Stephen Wilkins) • Sony ATV

Like for many Soul singers before her, Irene Reid's career started by winnig the amateur night at New York's famous Apollo Theatre. Although Reid ventured into theater and broadway musicals later, she made a memorable effort in 1972 when she recorded a mixture of Rock, Funk, Jazz and Pop for her album"The World Needs What I Need". On Dusty Springfield's "Son Of A Preacher Man" she marries broadway and chitlin' circuit in an intense mid-tempo performance.

A7 HELEN REDDY — Hit The Road Jack • Capitol/EMI [2:17]
(Percy Mayfield) Capitol Records, Inc. • First published date 1972 Tangerine Music Corporation (BMI) *)

Australian Singer Helen Reddy will go down in the history books for the argueable effort of providing kitsch Musical Producer Andrew Llyod Webber with his first hit single. In contrast to her normal MOR or Pop context, "Hit The Road Jack" sees Reddy getting into an unusualy funky setting. Big Band Horns, chucky Wah Wah's and rock solid breaks transform Ray Charles's classic into an irresistible Funk shaker.

B1 ERMA FRANKLIN — Light My Fire • Brunswick [2:37]
(J.P. Densmore/R.A. Krieger/R.D. Manzarek/J.D. Morrison) 1968 Brunswick Records Inc. Rondor Music (London) Ltd. *****)

Of the 100+ "Light My Fire" versions, Erma Franklin's cover sticks out as one of the funkiest. This is largley due to her backing unit, better known as the legendary "Young Holt Unlimited" (ex-Ramsey Lewis Trio). Together they create a dense and dark atmosphere, leaving just enough space to give Aretha's younger sister the time to show that vocal talent clearly ran in the family. Thrilling …

B2 PATTI DREW — Knock On Wood • Capitol/EMI [2:57]
(Eddie Floyd/Steve Cropper) Capitol Records, Inc. • First published date 1967 Irving Music, Inc *)

Although her professional stint in the music business only lasted from 1963 - 1970, Patti Drew left a more than noteworthy legacy to the world of Soul music. Especially her solo albums on Columbia Records, have Soul afficiandos showering cascades of praise up to this day. Her funky take on Eddie Floyd's "Knock On Wood", reassembles the original's goose bump qualities and arrives with heavy bass and drum upfront. The horns-reassemble the Stax style of the original, yet the brick hard, locomotive beat has Chicago-Soul written all over.

B3 THE 5TH DIMENSION — Feeling Alright? • Bell [4:25]
(Dave Mason) 1972 Arista Records, Inc. ****)

In 1970 the 5th Dimension's Pop/Soul fusions toped the international charts. Infiltrating the crossover market that had recently been ripped open by Sly Stone and Jimi Hendrix, the Dimension created a kind of "psycedelic Soul" that was also suitable for Vegas and cocktail lounges. Their performance of Dave Masons' "Feelin Alright", displays one of the moments where Billy Davis Jr., Florence La Rue, Marylin Mc Coo, Ron Townson and Lamont Mc Lemore showed some of their rawer edges. From the second where Billy Davis shouts "Seems I got to have a change of scene …" you're in for a couple of minutes of feverish, gospel preaching.

B4 BLOSSOMS — Grandma's Hands • EMI Songs Ltd. [3:31]
(Bill Withers)1972 Polydor Inc. • Interior Music Corporation **)

The Blossoms are most probably the least accredited singing group in Pop-history. After doing backup work for R'n'B artists like Richard Berry, Sam Cooke, Duanne Eddy and Ed Townsed during the 50ies, they became Producer Svengali Phil Spector's prime vocal group in the 60ies. During their stay with Spector they cut hits like "Da Do Ran Ran", "He's A Rebel", "Zip-A-Dee-Doo-Dah", "He's Sure The Boy I Love", ... - all of which were released under different monikers. Their version of Bill Whiters "Grandma's Hands" stems from the post Spector period, showcasing one of the rare moments where Darlene Love, Fanita James and Jeanie King, got deep and funky.

B5 TRINI LOPEZ — Unchain My Heart • Reprise [3:03]
(Bobby Sharp/Teddy Powell) 1963 Reprise Records ***)

Trindad Lopez will be remembered to the world as the man who brought us such golden oldies like "Speedy Gonzalez" and "If I Had A Hammer". In between the big successes Lopez experimented with various styles, churning out interesting variations of R'n'B, Latin and Pop tunes. On "Unchain My Heart" he strips Ray Charles's love lorn hymn of its big band arrangement, and transforms it into a tight, accoustic samba. Mr.Lopez seldomly sounded that seductive again ...

C1 QUINCY JONES — Comin' Home Baby • Mercury [2:38]
(Bob Dorough/Ben Tucker) 1963 UMG Recordings Inc. • Aral Music Co./Sincere Music Co. **)

In 1961, Jazz bassist Ben Tucker was sitting at home, waiting for his wife to return from shopping. Out of boredom, he started to fool around with the melody for a song that had been evolving in his head. The resulting track was entitled "Comin' Home Baby", and became a monster smash for crooner Mel Torme. In his own version, producer genius Qunicy Jones adds a "Big Band goes Beat" feeling to Tuckers' composition, strongly underlining the slick and urban elements of the song.

C2 HENRY MANCINI — Tequila • RCA Victor [2:36]
(Chuck Rio) 1962 RCA Victor's Music Center Of The World, Hollywood, California ****)

Among the musicians at the top of the Hollowood stairs, Henri Mancini is one of the most distinguished. In this case, Mr. Mancini has a go with the Champs Latin tinged party classic "Tequila". Crisp percussion, Big Band horns, joyous yodelling, dramatic crescendos and voilá ... the master of symphonic lounge music has us under his spell - again. Master at work!

C3 RAMSEY LEWIS — Spanish Grease • Cadet [3:07]
(Ramsey Lewis) 1966 UMG Recordings Inc. **)

Influenced by a musical background that included Bach, Ellington and the Gospel music of the Zion Hill baptist church, pianist Ramsey Lewis provided the 60ies with some of the most infectious and funkiest Jazz-instrumentals ever put on disc. His version of Dobie Grays "The In Crowd" became a US Top 5 hit, while several albums of his climbed to the Top of the LP Charts. "Spanish Grease" , a take on Willie Bobo's Latin monster, includes elements of the typical "live sound" that Lewis's cultivated in the 60ies. Augmented by percussion, brass and strings Lewis gets' into an irresisteable, easy-going groove.

C4 SHIRLEY SCOTT — I Want You Back • Atlantic [2:37]
(F. Perren/A. Mizell/D. Richards/B. Gordy) 1970 Atlantic Recording Corp. ***)

From the first note of its famous guitar intro - "I Want You Back" is a disco freak's call to arms. Although it lacks young Michael's soaring vocals, Shirley Scott boasts some scintilating hammond-magic into the mix, proving that the Jazz community didn't call her "Queen of the Organ" for nothing. Substantial backing is provided by Atlantic studio heavies like Eric Gale, Chuck Rainey and Ralph Mc Donald.

C5 BILLY LARKIN — I Got The Feelin' • World Pacific/EMI [2:37]
(James Brown) 1969 World Pacific Rec./Lois Publ. Co./Toccoa Industries *)

Billy Larkin and the Delegates rank among the baaaaddest organ outfits, the sixties had to offer. The track "I Got The Feeling" stems from Larkins later period and strips the organ maestro off his classic trio-backing, placing him in front of a full blown Big Band instead. The result is a swinging take on James Brown's early Funk classic, giving Mr.Larkin the oppurtunity to show off some of his wicked organ-phrasing.

C6 ARETHA FRANKLIN — I Take What I Want • Atlantic [2:28]
(David Porter/Isaac Hayes/Mabon Hodges) 1968 Atlantic Recording Corp. ***)

Hitting the airwaves in 1968 when the world's greatest female Soul singer couldn't do no wrong, "I Take What I Want" was Aretha's hommage to the sweaty dynamics of hard working Stax duo Sam & Dave. Drenched in gospel harmonies and driven by Arethas unmistakeable piano style, "I Take What I Want" kicks out some of the baaadest uptempo grooves Ms. Franklin had ever put on record.

C7 MONGO SANTAMARIA — See-Saw • Columbia [3:30]
(D. Covay/S. Cropper) Sony Music Entertainment Inc.

Afro-cuban percussionist Mongo Santamaria is one of the key integrational figures between the worlds of Latin and Jazz music. His Top 10 version of Herbie Hancocks "Watermelon Man", made him an international star in 1963 and initated a long, productive period of progressivley more Pop and R'n'B inspired albums. His cover of Don Covay's Soul standard "See Saw" displays the classic ingredients of a typical Mongo-rework of that period: chunky horns, jazzy pianos, solid bass, hard hitting rhythms and tight solos that simply keep on pushing …

D1 MARLENA SHAW — Let's Wade In The Water • Alexis Music [3:30]
(Anita Wise/Lee Magid) 1966 UMG Recordings Inc. **)

After doing her fair share of supper club crooning, Marlena Shaw gave Soul music one of its most memorable performances in 1967, when she recoreded her adaption of the old traditional "Wade In The Water". Ramsey Lewis's instrumental version had hit it big 2 years earlier, but it was Marlena's take, that brought things back to the grittier part of Soulville. An evident case, for the connection between Gospel and Soul. Pure joy.

D2 THE THREE SOUNDS — It Was A Very Good Year • Blue Note [2:44]
(Ervin Drake) Blue Note/Dolfi Music Inc. *)

Led by self-taught pianist Gene Harris, the Three Sounds' smooth mainstream Jazz proved highly popular during a recording career that spanned almost two decades. The Ervin Drake standard "It was a very good year" sees the band getting into a tight, Samba flavored Soul Jazz groove, with Harris highlighting simultaneously on organ and piano.

D3 KING CURTIS — Spooky • Atco [2:46]
(B. Buie/H. Middlebrooks/J. Cobb/M. Shapirio) 1968 Atco Recording Corp. Sony/ ATV Songs ***)

It isn't very difficult to highlight texas born "King" Curtis Ousley, as one of R'n'B's most versatile session men: Musical director for Aretha Franklin, discoverer of Donny Hathaway, producer for R'n'B and Rock artists alike and favorite sideman to everbody from John Lennon to Lionel Hampton. On "Spooky" he presents us with his take of the Classic IV cult track, directing his fabulous array of sidemen (incl. Bernard Purdie, Jerry Jemmott, Chuck Rainey and Cornell Dupree) through an effortless combination of Beat, Jazz and Soul elements.

D4 VIKKI CARR — I Can't Take My Eyes Off You • Liberty [3:05]
(B. Gaudio/R. Crewe )1967 Liberty Records • Digital 1989 EMI Records Seasons' Four Music Corp./Longitude Music *)

In 1968 "I Can't Take My Eyes Of You" became former Four Seasons frontman Frankie Valli's first big solo hit, selling more than two million copies worldwide. The song progressed into a standard, a synonym for romance and everlasting love and led to legions of kitschy coverversions. A song almost "made" for someone like MOR-princess Vikki Carr, who gives it a reassuringly smooth reading.

D5 LITTLE MILTON — Stand By Me • Checker [2:50]
(B.E. King/Jerry Leiber/Mike Stoller) 1964 UMG Recordings Inc. Jerry Leiber Music/Mike Stoller Music/Unichappell Music, Inc. **)

It was no less than troubled soulman Ike Turner, who gave "Little" Milton Campell his entry into the record business. After brief spells at Sun and then Bobbin Records (for whom he discovered Fontella Bass and Albert King) Milton moved north and started an extremely fruitful cooperation with Chicago's Chess Records. On his first album for Chess he took his chance on Ben E. King's "Stand By Me", replacing the symphonic "teen opera" idiom of the original, with a rawer, energy laden and "down home" feel.

D6 JAMES BROWN — Time After Time • King [4:47]
(Sammy Cahn/Jule Styne) 1969 Polydor Inc. • Sands Music Corp. **)

Beside his gutbucket - "Godfather of Soul" Image, James Brown always saw himself as a classic entertainer in the Nat King Cole and Frank Sinatra vein. In 1968 he fulfilled his aspiration, traded in his regular backing band for the Dee Felice Jazz Trio, and recorded an album full of standards entitled "Getting Down To It". On "Time After Time" Brown croons in best Sinatra style, until, at 2.10 the band kicks in and reminds "Mr. Please, Please, Please" that it's time to finally get down to it. Which he does…