David Clayton-Thomas - David Clayton-Thomas (69, uk blues, soul and pop rock - Flac)

This 1969 album was issued soon after the singer had made his recording debut with Blood, Sweat & Tears, taking both himself and the band to superstardom.

Clayton-Thomas has said that this LP was a cash-in, compiled by a producer who located unreleased pre-Blood, Sweat & Tears tapes that Thomas made in Canada, and then dubbed them with horns to make them sound more like Blood, Sweat & Tears.
The result isn't entirely disreputable, but in the manner of such records, there's a curious exploitative feel about the product, right down to its basic artwork and total lack of liner notes and musician credits.

It consists almost entirely of blues, R&B, and soul covers on the order of "I Got a Woman", "Stormy Monday", "Tobacco Road", "Boom Boom," and "Poison Ivy" (Clayton-Thomas is awarded the writing credits for a couple of tunes that are in fact covers of Howlin' Wolf's "Who's Been Talkin'" and Elmore James' "Done Somebody Wrong").

It's not too imaginative, as the set is basically that of a blues-soul-oriented mid-'60s cover band.
But Clayton-Thomas does sing the material reasonably well, the backing combo grooving along in a slightly jazzy soul-rock mode, with organ and occasional raw garage rock guitar.

The overdubbed horns do sound awkward, though, as if they're indeed trying to shove the tracks in a more Blood, Sweat & Tears direction.

If this was going to have been released at all, it would have been better to leave the original tapes unaltered. (by Richie Unterberger from amg)

Track List :
01.I Got A Woman
02.Say Boss Man
03.Who's Been Talkin'
04.Call It Stormy Monday
05.Done Somebody Wrong
06.Tobacco Road
07.Boom Boom
08.Good Lovin'
09.Poison Ivy
10.Howlin' For My Darling

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David Clayton-Thomas - David Clayton-Thomas (72, uk blues, soul and pop rock - Flac)

Surrey-born David Thomsett moved with his Canadian-born father & musical English mum back to the suburbs of Toronto when he was just a 6 year-old child.

Hot-blooded and driven, he left home at 14, waded through reformatories, farm jobs and bar bands until he finally hit pay dirt with Blood Sweat & Tears in 1968.
By the time he was 30 (and with his name changed), Clayton-Thomas was ready to release his 1972 debut solo LP - and having fronted the mighty Blood, Sweat & Tears as it's funky and fantastic vocalist - it was simply more of the same.

(...) Co-produced by B, S & T buddies Bobby Colomby and Joel Sill, it was released in April 1972 on CBS S 64755 in the UK and Columbia KC 31000 in the USA. (...)

Highlights are Edgar Winter's post-Woodstock anti-war anthem "Dying To Live" which is given a powerful rendition with strings that strengthen the melody and message rather than drown it (lyrics above).

The "After The Gold Rush" classic of "Don't Let It Bring You Down" by Neil Young is also treated to a strange solitary French Horn opening that really works - it takes a good song and moves it to somewhere different - very cool.

But the real peach here is his gorgeous vocal to Gram Parson's much-covered "She".
Clayton-Thomas does it more than justice - he almost makes it his own.
His lone "daddy was a junkie..." song about his favourite haunt "North Beach Racetrack" is a funky-as-f**k guitar romp where he roars a B, S & T mannerism "...tell the truth boy!" It's excellent and features slick guitar work from all three, Paul Cannon, Steve Cropper and Thomas himself.

The sound is superb throughout, punchy and vibrant.
There is hiss on some of the quieter songs like "Once Burned", but it's not too much to detract.

A niggle would be that the writers for "Dying To Live" and "Sing A Song" are wrongly credited in the booklet (their corrected above), but apart from that - this is a great reissue of a criminally forgotten Seventies gem.

Clayton-Thomas went on to make two more albums during the period - "Tequila Sunrise" in 1973 and "Harmony Junction" in 1974.
They're available elsewhere.

I've always had a soft spot for Blood, Sweat & Tears and anything that sounds like them.
Check out the funky and righteous cover of Paul Kelly's "Stealin' In The Name Of The Lord" (it was a minor hit in 1970 on Happy Tiger Records) or the gorgeous cover of "She" - you'll be hooked. (by Mark Barry from Reckless Records Store, London)

Track List (personnel) :

01.Magnificent Sanctuary Band [Dorsey Burnette cover]
(featuring Mike Deasy & David Cohen on Guitars with Clydie King & Vanetta Fields on Backing Vocals)

02.We're All Meat From The Same Bone [Gary Zekley song]
(featuring Steve Cropper of Booker T & The MG's on Guitar with Bobby Colomby of Blood, Sweat & Tears on Tambourine)

03.Stealin' In The Name Of The Lord [Paul Kelly cover]
(featuring Paul Cannon with Steve Cropper on Guitars, Jay Spell on Keyboards with Clydie King and Vanetta Fields on Backing Vocals)

04.Dying To Live [Edgar Winter cover]
(Arranged & Conducted by Klaus Ogerman, it also features Hugh McCracken & Sal DiTroia on Guitars, Frank Owens on Piano with the Strings Arranged by Julie Held)

05.Sing A Song [Gary Wright cover (formerly with Spooky Tooth)]
(featuring Mike Deasy & David Cohen on Guitars with Clydie King & Vanetta Fields on Backing Vocals)

06.She [writers Gram Parsons and Christ Etheridge/Flying Burrito Brothers cover]
(featuring duet vocals with Patricia Holloway, Hugh McCracken and Sal DiTroia on Guitars with Frank Owens on Piano)

07.Don't Let It Bring You Down [Neil Young cover]
(arranged and conducted by Jimmy Guiffre, Various Brass Players with Bobby Colomby on Drums)

08.Once Burned [Todd Rundgren cover]
(featuring Mike Deasy & David Cohen on Guitars with Clydie King & Vanetta Fields on Backing Vocals)

09.North Beach Racetrack [David Clayton-Thomas song]
(features guitars by Steve Cropper, Paul Cannon and David Clayton-Thomas with Jay Spell on Piano and Drums by Richie Simpson)

10.Caress Me Pretty Music [Anita O'Day cover]
(featuring Paul Griffin on Guitar with Bobby Colomby on Drums)

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Isaac Hayes - Black Moses (1971, us memphis soul, 2CDs remastered edition - Flac)

The sheer tenacity - albeit undeniably fitting - of this double-disc set has made Black Moses (1971) one of Isaac Hayes' most revered and best-known works.

The multi-instrumental singer/songwriter and producer had been a central figure in the Memphis soul music revolution of the mid-1960s.
Along with Booker T. and The MG's, Hayes' wrote and performed on more Stax sides than any other single artist.

By the time of this release - his fifth overall, and first two-record set - Hayes had firmly established himself as a progressive soul artist.
His stretched out and well-developed R&B jams, as well as his husky-voiced sexy spoken "raps" became key components in his signature sound.

Black Moses not only incorporates those leitmotifs, but also reaffirms Hayes abilities as an unmistakably original arranger.
Although a majority of the album consists of cover material, all the scores have been reconfigured and adapted in such a fundamental way that, for some listeners, these renditions serve as definitive.

This is certainly true of the extended reworkings of Jerry Butler's "Brand New Me" or Esther Phillips' "You're Love Is So Doggone Good" - both of which are prefaced by the spoken prelude to coitus found in each respective installment of "Ike's Rap".
The pair of Curtis Mayfield tunes - "Man's Temptation" and "Need to Belong to Someone" - are also worth noting for the layers of tastefully scored orchestration - from both Hayes and his long-time associate Johnny Allen.

The pair's efforts remain fresh and discerning, rather than the dated ersatz strings and horn sections that imitators were glutting the soul and pop charts and airwaves with in the mid-1970s.

Hayes' own composition, "Good Love", recalls the upbeat and jive talkin' "Hyperbolicsyllabicsesquedalymistic" from Hot Buttered Soul (1969), adding some spicy and sexy double-entendre in the chorus.

Wisely, the CD reissue also reproduced Chester Higgins' original tongue-in-cheek liner note essay giving the history and mythology of the Black Moses persona. (by Lindsay Planer from amg)

Track List :

CD 1
01.Never Can Say Goodbye
02.(They Long To Be) Close To You
03.Nothing Takes The Place Of You
04.Man's Temptation
05.Part-Time Love
06.Medley:
-Ike's Rap IV
-A Brand New Me
07.Going In Circles

CD 2
01.Never Gonna Give You Up
02.Medley:
-Ike's Rap II
-Help Me Love
03.Need To Belong To Someone
04.Good Love
05.Medley:
-Ike's Rap III
-Your Love Is So
-Doggone Good
06.For The Good Times
07.I'll Never Fall In Love Again

Personnel :
*Isaac Hayes - piano, vibes, organ, electric piano, vocals
*Lester Snell - electric piano
*Sidney Kirk - piano
*Charles Pitts - lead and rhythm guitar
*Ronald Hudson - bass
*Willie Hall - drums, tambourine
*Gary Jones - bongos, congas

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CODE : 52338

Wilson Pickett - Original Album Series (1966-68 us classic rhythm and blues, rock & soul - 2010 Rhino 5 CDs boxset - FLAC)

Pickett was born March 18, 1941 in Prattville, Alabama and grew up singing in Baptist church choirs.

He was the fourth of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now.

She used to hit me with anything, skillets, stove wood — (one time I ran away and) cried for a week. Stayed in the woods, me and my little dog." Pickett eventually left to live with his father in Detroit in 1955.

Pickett's Atlantic career began with a self-produced single, "I'm Gonna Cry". Looking to boost Pickett's chart chances, Atlantic next paired him with record producer Bert Berns and established songwriters Barry Mann and Cynthia Weil.

With this team, Pickett recorded "Come Home Baby," a duet with singer Tami Lynn, but this single failed to chart.

Pickett's breakthrough came at Stax Records' recording studio in Memphis, Tennessee, where he recorded his third Atlantic single, "In the Midnight Hour" (1965), his best-remembered hit, peaking at #1 R&B, #21 pop (US), and #12 (UK).It sold over one million copies, and was awarded a gold disc.

The genesis of "In the Midnight Hour" was a recording session on May 12, 1965, at which Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, which also included bassist Donald "Duck" Dunn.

Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the M.G.'s, did not play on any of the Pickett studio sessions.

Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?" He performed a dance step. Cropper later explained in an interview that Wexler told them that "this was the way the kids were dancing; they were putting the accent on two.

Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here this was a thing that went 'um-chaw,' just the reverse as far as the accent goes."

Pickett recorded three sessions at Stax in May and October 1965, and was joined by keyboardist Isaac Hayes for the October sessions. In addition to "In the Midnight Hour," Pickett's 1965 recordings included the singles "Don't Fight It," (#4 R&B, #53 pop) "634-5789 (Soulsville, U.S.A,)" (#1 R&B, #13 pop) and "Ninety-Nine and A Half (Won't Do)" (#13 R&B, #53 pop).

All but "634-5789" were original compositions Pickett co-wrote with Eddie Floyd and/or Steve Cropper; "634-5789" was credited to Cropper and Floyd alone.

For his next sessions, Pickett would not return to Stax; the label's owner, Jim Stewart, banned all outside productions in December, 1965.

As a result, Wexler took Pickett to Fame Studios, another recording studio with a closer association to Atlantic Records.

Located in a converted tobacco warehouse in nearby Muscle Shoals, Alabama, Pickett recorded some of his biggest hits there.

This included the highest charting version of "Land of 1,000 Dances", which became Pickett's third R&B #1, and his biggest ever pop hit, peaking at #6. it was another million selling disc.

Other big hits from this era in Pickett's career included two other covers: Mack Rice's "Mustang Sally", (#6 R&B), and Dyke & the Blazers' "Funky Broadway", (R&B #1, #8 Pop).

Both tracks were million sellers. The band heard on almost all of Pickett's Fame recordings included keyboardist Spooner Oldham and drummer Roger Hawkins..../....

Pickett died from a heart attack on January 19, 2006 in Reston, Virginia. He was aged 64.


Everybody Needs Somebody To Love (TV Show):


Disc: 1
01.In The Midnight Hour
02.Teardrops Will Fall
03.Take A Little Love
04.For Better Or Worse
05.I Found A Love
06.That's A Man's Way
07.I'm Gonna Cry
08.Don't Fight It
09.Take This Love I've Got
10.Come Home Baby
11.I'm Not Tired
12.Let's Kiss And Make Up

Disc: 2
01.Land Of 1000 Dances
02.Something You Got
03.634-5789
04.Barefootin'
05."Mercy, Mercy"
06.You're So Fine
07.In The Midnight Hour
08.Ninety-Nine And One-Half (Won't Do)
09.Danger Zone
10.I'm Drifting
11.It's All Over
12.She's So Good To Me

Disc: 3
01.Mustang Sally
02.New Orleans
03.Sunny
04.Everybody Needs Somebody To Love
05.Ooh Poo Pah Doo
06.She Ain't Gonna Do Right
07.Knock On Wood
08.Time Is On My Side
09.Up Tight Good Woman
10.You Left The Water Running
11.Three Time Loser
12.Nothing You Can Do

Disc: 4
01.Soul Dance Number Three
02.Funky Broadway
03.I Need A Lot Of Loving Every Day
04.I Found A Love
05.I Found A Love
06.You Can't Stand Alone
07.Mojo Mama
08.I Found The One
09.Something Within Me
10.I'm Sorry About That
11.Love Is A Beautiful Thing

Disc: 5
01.Jealous Love
02.Stagger Lee
03.That Kind Of Love
04.I'm In Love
05.Hello Sunshine
06.Don't Cry No More
07.We've Got To Have Love
08.Bring It On Home To Me
09.She's Lookin' Good
10.I've Come A Long Way


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CODE: 51285

King Curtis - Live At Fillmore West (1971, us soul - Ape lossless format)

King Curtis (real name Curtis Ousley) was a saxophonist with soul.
Curtis was a popular recording artist of Atlantic Records who was tragically murdered in August 1971 (one week after this release).
Curtis was trying to get to his apartment and two dope heads were in the way.
He asked them to move, they refused, a scuffle ensued, and Curtis was stabbed in the heart.
A promising career brought to an end by a dope head’s lack of manners.
Aretha Franklin sang at Curtis’ funeral.

Ironically, Curtis had appeared with Franklin earlier in March 1971 at the Fillmore West.
A three-night venue at rock promoter Bill Graham’s Fillmore West arranged by producer Jerry Wexler.
It was thought by some that the “longhairs” and “flower children” that frequented the establishment, it being in the Haight-Ashbury district of San Francisco, would not appreciate neither Franklin nor Curtis.

Curtis came prepared though.
He had assembled a “dream team” (dubbed the Kingpins) for the occasion that consisted of Cornell Dupree, Jerry Jemmott, Bernard “Pretty” Purdie, Truman Thomas, and Pancho Morales.
To this mix the legendary Billy Preston (aka the fifth Beatle) and the Memphis Horns were added.

Curtis and the boys would open the show for Aretha and featured versions of Curtis’ Atlantic hits.

The LP that was released of these performances would late go on to be Curtis’ best selling album of his too short career reaching #9 on Billboard’s R&B chart.

The first nine tracks on this CD represent that album.

They’ve now chosen to compile all of Curtis’ contributions to this soul spectacular into this one CD.
The original nine songs featured on the LP are “Memphis Soul Stew”, “A Whiter Shade Of Pale”, “Whole Lotta Love”, “I Stand Accused”, “Them Changes”, “Ode To Billy Joe”, “Mr. Bojangles”, “Signed, Sealed, Delivered (I’m Yours)” and “Soul Serenade” (...)

(...) The sad part is that his career was cut short over an argument.
We wonder what could’ve been.
It’s also very nice to hear from the late, great Billy Preston (he died in June 2006).
If you’re a fan of King Curtis or any of the artists mentioned they you’ll really want to pick up this album.

Excellent stuff there, longhairs and flower children prepare to gather a new appreciation for soul music. (by Jeff Swindoll)

Track List :
01.Memphis Soul Stew
02.A Whiter Shade Of Pale
03.Whole Lotta Love
04.I Stand Accused
05.Changes
06.Ode To Billy Joe
07.Mr. Bojangles
08.Signed Sealed Delivered I'm Yours
09.Soul Serenade

Personnel :
*King Curtis - tenor, alto & soprano saxes
*Billy Preston - organ

The Kingpins:
*Cornell Dupree - guitar
*Jerry Jemmott - bass
*Bernard 'Pretty' Purdie - drums
*Truman Thomas - electric piano
*Pancho Morales - conga drums

The Memphis Horns:
*Wayne Jackson - trumpet
*Andrew Love - tenor sax
*Roger Hopps - trumpet
*Jack Hale - trombone
*Jimmy Mitchell - baritone sax
*Lou Collins - tenor sax

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CODE : 50826

Ruth Copeland - The Invictus Sessions : Gimme Shelter (71-72 uk soul funk with psych folk touches - Wave audio format)

Could she let it rip or what?

Ruth Copeland was born in England and became the first white artist signed to Holland-Dozier-Holland's Invictus label.
These sessions represent her first two albums for the label, both released in 1971: "I Am What I Am" and "Self Portrait".

Her singing is also omnipresent on the first Parliament album Osmium.
These sides are a remastered reissue of the two out of print albums called Deep Beats in 1997.

This is splendidly wide-ranging stuff, from folk and pop to hard, sexual funk.

The backing of Parliament and other members of the George Clinton & the P-Funk All-Stars certainly help here.

Gimme Shelter: The Invictus Sessions is absolutely necessary. (by Thom Jurek from amg)

Track List :
01.Prologue: Child Of The North
02.Thanks For The Birthday Card
03.Your Love Been So Good To Me
04.The Music Box
05.The Silent Boatman
06.To William In The Night
07.No Commitment
08.I Got A Thing For You Daddy
09.A Gift Of Me
10.The Medal
11.Crying Has Made Me Stronger
12.Hare Krishna
13.Suburban Family Lament
14.Play With Fire
15.Don't You Wish You Had (What You Had When You Had It?)
16.Gimme Shelter

Personnel :
*Ruth Copeland - vocals, guitar
*Eddie Hazel - guitar
*Bernie Worrell - organ, piano
*Ron Bykowski - guitar
*Ray Monette - guitar
*Billy Nelson - bass
*Ramon Tiki Fulwood - drums

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CODE : 50799

Isaac Hayes - Hot Buttered Soul (July 1969 us memphis soul 24 bit remastered edition - Wave audio format)

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music.

Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image.

With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical.
Surprising many, the album features only four songs.

The first, "Walk on By", is an epic 12-minute moment of true perfection, its trademark string-laden intro just dripping with syrupy sentiment, and the thumping mid-tempo drum beat and accompanying bassline instilling a complementary sense of nasty funk to the song; if that isn't enough to make it an amazing song, Hayes' almost painful performance brings yet more feeling to the song, with the guitar's heavy vibrato and the female background singers taking the song to even further heights.

The following three songs aren't quite as stunning but are still no doubt impressive:
"Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song;
"One Woman" is the least epic moment, clocking in at only five minutes, but stands as a straightforward, well-executed love ballad;
and finally, there's the infamous 18-minute "By The Time I Get To Phoenix" and its lengthy monologue which slowly eases you toward the climactic, almost-orchestral finale, a beautiful way to end one of soul's timeless, landmark albums, the album that transformed Hayes into a lifelong icon. (by Jason Birchmeier from amg)

Track List :
01.Walk On By
02.Hyperbolicsyllabicsesquedalymistic
03.One Woman
04.By The Time I Get To Phoenix

Personnel :
*Isaac Hayes - keyboards, vocals

The Bar-Kays :
*Michael Toles - guitar
*James Alexander - bass
*Willie Hall - drums
*Ronnie Gorden - organ

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CODE: 50529

Aretha Franklin - Live At Fillmore West (1971 us soul, expanded and remastered 2CDs edition - Flac)

When Aretha Franklin recorded 1971's Live At Fillmore West, she was backed by a group of veteran session musicians on a mix of popular interpretations along with some of her trademark numbers.

Opening with Otis Redding's "Respect", Franklin made Stephen Stills' "Love The One You're With" her own with the help of Billy Preston's joyous organ playing while Bread's saccharine "Make It With You" was injected with a healthy shot of sexy sassiness.

Aretha Franklin's underrated piano playing and a healthy display of her gospel roots make Fillmore one of the more special recordings in Lady Soul's vast canon.

Franklin's skill on the eighty-eights particularly shines on her swinging treatment of the Beatles' "Eleanor Rigby" and the jubilant "Don't Play That Song".
Franklin also plays electric piano on "Dr. Feelgood", and from this point on she turns Bill Graham's hall into a Baptist church.

Between the call-and-response of her background singers and King Curtis' skillful band-leading/saxophone playing, Franklin's high point came when she brought Ray Charles out for the reprise of the testimonial "Spirit In The Dark" followed by the uplifting "Reach Out And Touch (Somebody's Hand)". (liner notes by David Nathan)


My "review" in portuguese language
Segundo album ao vivo pela editora Atlantic com o numero de serie SD-7025, desta rainha da oul music, com a participação dos monstros King Curtis e Ray Charles que se encontrava no meio do público e é convidado para entrar nas ultimas musicas do discoI, bem como ainda de Cornell Dupree, Jerry Jemmott, Bernard Purdie e Billy Preston.

Neste disco, aparecem entre outras, excelentes "covers" tais como "Love The One You're With" de Stephen Stills, "Eleanor Rigby" dos Beatles, "Make It With You" dos Bread, "Bridge Over Troubled Water" de Paul Simon, e "Respect" de Otis Redding.

Um disco cheio de power.

Track List :

CD 1 (Original Album)
01.Respect
02.Love The One You're With
03.Bridge Over Troubled Water
04.Eleanor Rigby
05.Make It With You
06.Don't Play That Song
07.Dr. Feelgood
08.Spirit In The Dark
09.Spirit In The Dark (Reprise With Ray Charles)
10.Reach Out And Touch (Somebody's Hand)

CD 2 (Alternates and Unused Songs)
01.Respect
02.Call Me
03.Mixed Up Girl
04.Love The One You're With
05.Bridge Over Troubled Water
06.Share Your Love With Me
07.Eleanor Rigby
08.Make It With You
09.You're All I Need to Get By
10.Don't Play That Song
11.Dr. Feelgood
12.Spirit In The Dark
13.Spirit In The Dark (Reprise)

Personnel :
*Aretha Franklin - vocals, keyboards
*Ray Charles - vocals, keyboards
*King Curtis - saxs
*Billy Preston - organ
*Jack Hale - trombone
*Jimmy Mitchell - baritone sax
*Lou Collins - tenor sax

The Kingpins :
*Cornell Dupree - guitar
*Jerry Jemmott - bass
*Bernard 'Pretty' Purdie - drums
*Pancho Morales - congas
*Truman Thomas - electric piano

The Memphis Horns :
*Wayne Jackson - trumpet
*Andrew Love - tenor sax
*Roger Hopps - trumpet

The Sweethearts Of Soul :
*Brenda Bryant, Margaret Branch, Pat Smith - background vocals

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CODE : 50502

Donny Hathaway - Live (1972, us r&b chicago soul - Flac)

This fine live set captures soul singer Donny Hathaway performing some of his excellent originals and a range of covers including Marvin Gaye's "What's Goin On" and John Lennon's "Jealous Guy".

Donny Hathaway's 1972 Live album is one of the most glorious of his career, an uncomplicated, energetic set with a heavy focus on audience response as well as the potent jazz chops of his group.

The results of shows recorded at the Troubadour in Hollywood (Side One in the vinyl) and the Bitter End in Greenwich Village, New York (Side Two in the vinyl), the record begins with Hathaway's version of the instant soul classic "What's Going On", Marvin Gaye's original not even a year old when Hathaway recorded this version.

His own classic "The Ghetto" follows in short order, but stretches out past ten minutes with revelatory solos from Hathaway on electric piano.
"Voices Inside (Everything Is Everything)" is another epic (14-minute) jam, with plenty of room for solos and some of the most sizzling bass work ever heard on record by Willie Weeks.

Any new Donny Hathaway record worth its salt also has to include a radical cover, and Live obliges nicely with his deft, loping version of John Lennon's "Jealous Guy".

The audience is as much a participant as the band here, immediately taking over with staccato handclaps to introduce "The Ghetto" and basically taking over the chorus on "You've Got a Friend".
They also contribute some of the most frenzied screaming heard in response to any Chicago soul singer of the time (excepting only Jackie Wilson and Gene Chandler, of course).

Hardly the obligatory live workout of most early-'70s concert LPs, Live solidified Hathaway's importance at the forefront of soul music. (by John Bush from AMG)

Track List :
01.What's Goin' On
02.The Ghetto
03.Hey Girl
04.You've Got A Friend
05.Little Ghetto Boy
06.We're Still Friends
07.Jealous Guy
08.Voices Inside (Everything Is Everything)

The Band :
*Donny Hathaway - vocals, keyboards
*Phil Upchurch - lead guitar (on Side One)
*Cornell Dupree - lead guitar (on Side Two)
*Mike Howard - guitar
*Willie Weeks - bass
*Fred White - drums
*Earl DeRouen - conga, drums

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CODE : 49665