The B side continues as strong as the A side inclding the great soul shuffler anthem 'Lucky To Be Loved By You'. A side brings classic uptempo soul in 'Ain't Gonna Stop' & 'You Can't Miss Something That You Never Had' & 'You Gotta Try ' deliver heavy basslines laced with key driven melodies, a horn and percussion section for extra treatment, laid back mid-tempo soul in 'A Love That's Worth By You' + the soulful 'That's What I Call Lovin' You'. This debut Willie Hutch LP on RCA before he later joined Motown Records features features 11 classic grooves. Dick, Craig B, O'Dell, Carlos) helped sell 30 million records for Master P's No Limit Records, from 1995 to 1999, as well the majority of. The collective, with the members (KLC, Mo B. StudioLinked Beats By The Pound v1.0 RETAiL (AU VST) (Mac OS X) Beats by the pound is a Louisiana-based American music production team made up of four men.This extensive listing was created by Jack Silva, a longtime fan and friend of Tower of Power from the Boston area. Restaurant Instrumental 80s Hits 80er & 90er Musik Box, 80s Are Back, 80s Pop Super Hits.HORN SECTION DISCOGRAPHY. 10/10DJ Mr 'Soul' Strutt - 45 CENTRAL.Download song the best radio hits of 70s 80s 90s free mp3.
Best The Back Horn Rar Mac OS XPlease join me in saying goodbye to, who passed away on May 8th.Carson grew up in Jackson, Mississippi. The ever-growing size of hard drives means the need to reduce file. With the right file compression software, sharing and archiving files is easy. Scroll down to the bottom to see an index of abbreviations for the. He and his partner became tight with the band and, when they teamed up with Couch's brother in law to open a recording studio in the Whitsett's home town in 1967, the brothers were among the first to record there.Although nothing much came of those initial sessions, Tim opened an office in the same building as the studio in 1968, and everybody kind of hung out together.Along with local personality, Carson and fellow Imperial Show Band member Jerry Puckett began helping out, and playing behind local acts that booked studio time. Would offer them the job as the 'house band' at Stax (and later American), but they turned him down because they were doing so well on the road.They were simply HUGE on the 'Fraternity Circuit', and were booked by a young guy named who ran an agency named Campus Attractions at Ole Miss. They were the first truly integrated touring act and, when came on board as their featured vocalist, they were more in demand than ever. That band, which would later become known as, would become one of the most popular acts in the south, and record a few highly collectable 45s for Ace, Epic, and Whitsett's own label, Rim. Tim told him that the only way he'd let him in is if he learned to play the Hammond B3. They released one solid album, but that was about it.Later that year, he was back at Malaco full time, actually releasing a single under his own name. When Tim took a job working music publishing at Stax, he brought Carson up to replace the recently departed in a new version of the MGs in 1973. They agreed to release it, and did even better, spending 5 weeks at #1, and putting Malaco squarely on the map.Oddly enough, Carson, who was still very much a part of the Malaco rhythm section at the time, wasn't playing on either of those cuts, as Wardell himself was on the B3. Atlantic ended up signing on as the distributor, as the record took the country by storm, spending a month at #1 R&B in late 1970., meanwhile, took a tape of a song recorded by at the same session, and brought it to a friend of his up at Stax in Memphis. Undaunted, Couch and Stephenson released it on their own Chimneyville label. The big record companies (like Atlantic) just weren't ready for Quezergue's innovative sound, and passed on the incredible, 's timeless original composition. Although remaining a popular performer locally, she continued to record at McRee's studio under various names for the next few years without much luck.Jerry Puckett had brought her to Malaco in 1971, as part of their team of back-up singers that also featured and Jewel Bass.Malaco had leased a few records by her to AVCO and GSF, and managed to crack the R&B top 100 themselves with a duet Dorothy did with King Floyd on Chimneyville, (written and produced by the great ). Signed by Epic Records, their first recording, would reach #56 on the Billboard Hot 100 that Spring. After singing background vocals at local entrepreneur Bob McRee's studio in Jackson, he helped her form her own 'girl group', in 1966. Today's great big greasy slab of funk was the B side of that awesome 45. Finally, faced with looming bankruptcy and the consequent loss of the studio, Malaco released it themselves in November of 1975 (after old friend Jimmy Johnson talked them into letting him overdub his rhythm guitar on there).The record, of course, was simply a monster, climbing to #3 on the pop charts, and re-defining the seventies Southern Soul sound in the process. Not one record company was willing to take a chance on it, fearing it wasn't right for the burgeoning 'disco era'. With soaring string arrangements provided by Wardell Quezergue, and Carson Whitsett's ethereal piano (not to mention Dorothy's killer vocals), they were sure they had a hit.Only nobody would touch it. Dorothy has recently started up her own label, which is committed to finally bringing the City of Jackson the recognition it deserves as a major player on the Southern R&B scene.As Malaco's rhythm section evolved, Carson Whitsett remained it's one constant, developing the unique piano driven blues sound that would come to be identified with the label.In spite of the studio's decision to 'lacquer the hammers' on their piano in an attempt to accentuate the high end (which drove him nuts), he soldiered on, producing a body of work that is simply astounding.Faced with yet another financial crisis in the early eighties, it was new label signee that came to the rescue this time, when his became the biggest selling 'blues' album ever. I love it.Dorothy would go on to chart for the label throughout the seventies, with great records like.After hitting the Gospel charts with a great album in 1986, she returned to R&B and is still active on 'the circuit' today. It's hard to believe this great song wasn't a hit on it's own, man! Check out Carson dropping that funky clavinet thang in between the bass and guitar parts. Anyway, I'm not sure if it was recorded around the same time as it's A side, but I'm betting it was, as those sure sound like Wardell's horn charts. It's apparently a typo - although it's spelled that way on both sides of the record - as it was spelled correctly on the original release, before TK picked it up for distribution). Pdf xchange editor serialThere is a very moving tribute posted by his family on, from which I have borrowed some of these excellent photographs. That same team would go on to work with on his excellent 2005 effort.When Whitsett was diagnosed with brain cancer last year, his warmth and sense of humor remained intact. He went on to work closely with 'new' Country star and her husband, as well as working on his own material.I didn't realize this until I started writing this post, but it was Carson who co-wrote (along with Dan Penn and ) the spine-tingling title track for 's 2002 Grammy winning. He had always been a songwriter, and began supplying hits for Country artists like and, while collaborating with two of the absolute coolest people on this earth. Carson's was indeed a life well lived!Said.Red, great job with the Whitsett post. Please allow me to extend my heartfelt condolences to you and the rest of the family. Very best regards, Tim Whitsett said.Well thank you, Tim (and Tommy), for the kind words about the 'blog'. So too is Malaco Records CEO Tommy Couch, Sr.Who has also read your blog.
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