Quite why we, the Great British Public, are being entrusted with a simple yes no vote on something that could significantly effect our future, and our childrens' future, I have no idea. Then again, it could turn out to be of little significance. There's the rub, after all this campaigning we still have little or no idea, do we, really? By the way, that question is not designed to spark a political debate, I don't do politics here. It is a good excuse to play a Willie Hutch track though, and I have a feeling Willie had something else on his mind when he recorded it. Willie Hutch - In And Out 1982
clouds. I thought some reggae might help to coax the sun to come out,
and stay out!
is always difficult to find “in the wild”, so I got excited when
I found half a box of it at a car boot sale recently. My excitement
was tempered somewhat when the seller proceeded to check them all on
Discogs before naming a price! This is the first time this has
happened to me. In a way I could sort of accept what he was doing- he
is evidently a dealer and his stall is effectively his shop.
Nevertheless it sort of takes the fun out of the digging process. In
the end he quoted prices I was in most cases willing to pay so came
away with a handful of 12” and this early '80s compilation of full
length Mighty Diamonds releases from, mostly, the late 70s.
waxed lyrical about the Mighty Diamonds before I think, I saw them
live only a few years ago and they have beautifully sweet voices. Add
to this the fact that I noticed a track on this album was Danger
In Your Eyes and it became a must buy.
In Your Eyes has been a long
time reggae favourite of mine ever since I heard John Peel play a
version by Judah Eskender (aka Yabby You aka Vivien Jackson) on his
programme back in '77 or'78. (I still have that on a John Peel
mixtape). I am a little confused by the history of the song. It seems
it was originally recorded by Don Evans & The Paragons but its
recording date is a bit of a puzzle. The original (?) issue was on
Coxsone I think. On the label it states 1966 but I think the Coxsone
45 was released in 1976, and I can't find any concrete evidence of an
official 1966 release.
Mighty Diamonds version dates to around 1978 (again, I think –
dating reggae releases is notoriously difficult) when it was released
on the Gussie Roots label - on this release they were to modest to refer to themselves as Mighty. It is a more laid back version than Judah
Eskender's but I like both equally. (On its original 45 it was backed
with a reimagined version of Fools Rush In which
is also on this compilation and also gorgeous).
have been told of not one but two new record shops that have opened
in my neck of the woods during the last couple of months. As they
keep saying, vinyl is making a comeback.
visited one of these on its opening day at the end of April. A friend
had mentioned an ex colleague of his was opening a new record shop,
he was going along to the grand opening and would I like too as
well. Yes, of course. Although I am, I suppose, a bit of a vinyl nut I
am, frankly, not tuned in to the local vinyl grapevine and hadn't
picked up on either of these new ventures so I was thankful my friend
the shop it turned
out I know the owner through bumping into each other and engaging in
general record b*llocks talk occasionally at a local car boot in
the last couple of years. All I can say is good luck mate - you are
very brave. The shop is Longwell Records in Keynsham (that's
up a couple of things out of the yet to be priced bin which I'm very
happy with, one of which was this great comp from the early 00s -JohnnyOtis & Friends - Watts Funky.
you are a regular here you may remember I have posted more than one
Johnny Otis 45 in recent years and I have become a huge fan of his,
especially his largely obscure late 60s & 70s funk, jazz, and
disco infused productions.
one level at least this album could be said to be the first record
ever bought in Longwell Records. I asked Ian, the shop owner, to tuck
it behind the counter while I continued to browse, although a lady
did beat me to actually handing over readies for something. Talking
with another record hound at (yet another generally fruitless) car
boot recently he said that Ian apparently did not quote Watts Funky
as the first purchase though. From his point of view I suppose he's
right as he would have been focussed on the record that put the first
takings in the till. I would maintain that it is at least a moot
Now, how do you go about this blogging
Since my last post “I will do a post
tomorrow” has been a thought that has crossed my mind many times.
But those tomorrows have come and gone and the thought has remained
just that, nothing more than a dream – until now!
The crazy busy time at work has
subsided for now – a project with an increasingly unrealistic
deadline finally sensibly rescheduled.
On the home front we now have a lovely
new shower room – just a few cracked tiles to sort out :( . This
project had a negative effect on the vinyl front. The front room
which is home to the hi-fi had been full of shower room stuff
awaiting installation – including among other things a toilet,
which may have proved a good listening perch except that,
unfortunately, the turntable was essentially unreachable.
So the recent vinyl purchases have been
mounting up. But I'm back in the grooves now.
Considering Al Green was one of the
first singers that introduced me to the wonderful world of Soul music
I have surprisingly few of his singles. Al Green's Greatest Hits
probably had something to do with it. Back in the day when my
fledgling vinyl habit was supported by pocket money alone the
Greatest Hits album was a godsend, and Al Green's was (still is) a
treasured copy in my collection It meant I bought few of his
singles; not, for example one of his big hits, Let's Stay
Together. I finally added a copy of this single to the collection
last week when I found one at a car boot in reasonable condition
(thinking about it, Al was a household name in the 70s and had quite
a few big hits, but I hardly ever come across his records “in the
The A side is warm and familiar and
brought back memories when I gave it a spin. The B side I didn't know
but made me purr “ooh that's good”. Tomorrow's Dream
pre-dates it's A side by a few years, it appeared on Al's first album
for Hi, Green is Blues, released in 1969. The track has a sort of gritty “down home” feel to it – the Hi sound is unmistakable
but more of an undercurrent, listening it is almost like you are
witnessing the birth of the classic Willie Mitchell sound of the 70s;
and Al's vocals have yet to receive that extra polish. I think it is
a very wonderful thing, and it has been a highlight of a gruelling
few weeks trawling the charity shops and car boots.
... because I am still here! Oh dear! Nearly another month has gone by since my last post. But, yes, this blog is still alive, albeit crawling into its second decade. An intermittent service may still continue for a couple of months - I'm feverishly busy at work at the moment and by the time I get home usually all I want to do is sit down and vegetate in front of the TV, or idly browse on my new tablet - not my normal mode I have to say. I'm not short of music to share, but I am short of time to listen to it and research a few words to say about it. Here is another 45 from the little stack I was so glad to find at a local record fair a few weeks ago. This one was a bit of an impulse purchase I have to say, and not nearly as cheap as the others. I usually set myself tight limits on what I'm willing to shell out on records, and in truth get a real buzz from finding great sounds for peanuts. In this instance, however, I let curiosity take its course and dug into a box of more expensive 45s to see if what lay in the grooves could honestly justify the price tag. The answer generally was no it couldn't - at least not to me - except for this Peacock 45, the one and only record Willie Tomlin released as far as I can tell. The lyrics are just great fun and had me hooked straightaway. (I didn't spend a fortune on it, just a bit more than I usually would consider). I can't tell you anything about Willie Tomlin, except that he's one cat that's clean! Willie Tomlin - Check Me Baby 1968 ... and he was almost certainly inspired by this:
This blog is 10 years old today! It was inconceivable to me back in 2006 that, 10 years later, Feel It would still be alive. So I had been wondering lately how to mark this occasion. A mix of a few things that have appeared here down the years, maybe one from each year? Perhaps some discussion on how the internet has continued to change the way we discover, and listen to, music in the years since this blog was born? Nice ideas, but time is short - my life in general continues to be pretty busy at the moment. And there's the rub. Maybe I'm not quite as enthusiastic about this little project as I once was because I am managing to do neither of the things mentioned above, which a landmark such as this should surely warrant. Instead I will just mark another year of operation of this blog in the usual way... by thanking you for still dropping by, letting you know I'm not intending to hang up the closed sign yet... and wishing Candi Staton a Happy Birthday.
promised here is the Gloria Lynne 45 that the eagle-eyed Ravel
spotted in the pictures in my last post that featured my most recent little 45
Mia Wilson was born in Harlem in 1929. Her NY Times obituary tells us
she took a male friend's name, who would become her husband –
Alleyne – as a stage name in the Fifties, but soon shortened it to
Lynne, after so many presenters had trouble pronouncing Alleyne.
initially sung in groups including the Dell Tones, The Enchanters, and The
Dorsey Sisters. Her solo career started sometime around 1958. At
least one single was released under her birth name, on Dawn records,
but her career really took off under the name Gloria Lynne when she
was signed to Everest Records. Between 1958 and 1970 – her most
active period – she then had numerous 45 and album releases, and
toured with the likes of Ella Fitzgerald, and Billy Eckstine,
Although typically labelled a Jazz vocalist her repertoire extended
to Jazz, R&B, Soul and lush Pop arrangements, and her songs were
often difficult to categorise. She had a fine voice and didn't really
get the full recognition, or lasting recording breaks she deserved.
The NY Times obit recounts unscrupulous management, and this coupled
with changing musical tastes meant the Seventies would prove a low
point for her. Later her career would revive and she moved into more
pure Jazz circles and toured and performed with Jazz luminaries such
as Quincy Jones.
that Gloria Lynne had at least two 45 releases on the Seeco label,
which were in the middle of her run of Everest releases. I'm not sure
what the story is behind these Seeco 45s (incidentally Dawn, where
Gloria made one of early 45 outings, it seems was a subsidiary label
of Seeco), they do seem to be fairly obscure, possibly recorded prior
to her Everest hook up and released in an attempt to cash in on her
sure which is the A side here, all I know is I'm Not Afraid
Anymore is a great jump blues / R&B number and the
stronger side to my mind. I have seen Is There Someone For Me
listed as the A side though, which is quite possible, it is a much
more pop slanted ballad and might have had more chart potential at
the time, Gloria certainly lifts it above the average.
Mostly vinyl, mostly a private pleasure - until now.
Music posted here I have bought and gained much pleasure from listening to down the years (or months, or days!). So in the spirit of an 'all back to mine' it's time to share it.
DISCLAIMER: If you hear something you like I urge you to seek it out and purchase it in your format of choice. Mp3s found here are posted for a limited time and are for illustrative and previewing purposes only. If you are the creator or copyright holder of any material posted and object to it's appearance on this blog then please email me at darcyfeelit (at) blueyonder.co.uk and it will be removed forthwith.