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Deep-voiced Latimore’s sultry mid-’70s output for Miami’s Glades label was a steamy marriage of soul and blues.
Mixing Lou Rawls and Swamp Dogg in a soul-stud groove that climaxes on the fast side with his sympathetic impression of “a redneck in a soul band” and is softened on the slow side by a spirited but thoughtful rendition of “Ladies’ Man,” a song about not getting it up that’s probably the best thing [[Oscar Brown Jr]]. ever wrote.
While the deep-soul and Southern soul-flavored ballads and mid-tempo numbers are all superb, as a result, it is worth a spin for hardcore ’70s soul fans.
This is a @320 vinyl rip of the original T.K. Records’ Subsidiary Glades LP including covers.
A1 – Keep The Home Fire Burnin 3.35
A2 – Qualified Man 4.36
A3 – Are You Where You Wanna Be 4.15
A4 – There’s A Red Neck In The Band 4.45
B1 – Ladies Man 7.20
B2 – Leave Me Alone 3.45
B3 – Just One Step 2.45
B4 – She Don’t Ever Lose Her Groove 3.40
Great stuff from Latimore possibly the king of the Miami soul scene of the 70s! The record’s got him moving away from the blusier sound of his earlier days in keeping with the direction he started on his second album and it’s got a lot of great electric piano riffing, plus guitar by Little Beaver. Features the nice cut “Keep the Home Fires Burnin” a message cut about how if you run around town using your “log” to start other fires, you won’t have anything left to burn when you get home! Other titles include “Qualified Man”, “Are You Where You Wanna Be”, and “She Don’t Ever Lose Her Groove”. (Dusty Groove)
Born Benjamin Latimore, 7 September 1939, Charleston, Tennessee, USA. This singer, who performed under his surname only, brought a blues feeling to 70s soul music. His passionate vocal delivery and keyboard-dominated style was particularly popular with his female audience. Latimore sang gospel music as a child in his family’s Baptist church but did not sing professionally until his first year of college, where he worked with a group called the Hi-Toppers. The group had already recorded for Excello Records when Latimore took over the piano position; he never recorded with the group but remained with them until 1962. At that time he joined Joe Henderson’s revue as pianist, and with that group backed artists such as Ben E. King, Slim Harpo and Jimmy Reed in concert. Latimore left Henderson in 1964 and worked as an opening act for teen-idol Steve Alaimo. He also recorded some unsuccessful singles for the Dade label at this time, but finally achieved a hit in 1973 for the related Glades label, with a remake of T-Bone Walker’s “Stormy Monday”. The following year Latimore reached his commercial height with a number 1 R&B single, “Let’s Straighten It Out”. He charted with 13 singles in total for Glades during the 70s, reaching the R&B Top 10 twice more. In 1982, he switched to Malaco Records, for whom he continues to record, although quite infrequently.
Never released on CD. You can buy a vinyl copy here or here. Latimore still on tour, so check his Tour Schedule here.
Listen one of his greatest hits “Let’s Straighen It Out”
Latimore – 1978 – Dig A Little Deeper
Since you ask for more Latimore’s albums, here’s one of his bestin the 70’s. From 1978 with the yearning ballad “Long distance love”, the smooth groove “Too hot to handle”, and the soul vocal funky groove “Out To Get Cha”. This one was recorded at Muscle Shoals, have some very nice moments, and the classic modern/southern sound that made Latimore so huge.
This is a @320 vinyl rip of the original Glades Records LP including covers.
A1 Long Distance Love (3:48)
A2 Out To Get ‘Cha (5:38)
A3 We Got To Hit It Off (4:00)
A4 Ain’t Nothing Like A Sweet Woman’s Love (4:37)
B1 Too Hot To Handle (5:40)
B2 Dig A Little Deeper (5:40)
B3 Tonight’s The Night (6:16)
Dig a Little Deeper (Glades) In seven solid, funk-rooted tunes this obdurate soul holdout portrays, in order, a long-suffering on-the-road monogamist, a stud on the prowl, a reluctant lay (“We got to hit if off before we get it on,” he tells a “liberated woman”), a sentimental monogamist, a sex slave, a good lover (title tune), and a seducer of virgins (courtesy Rod Stewart). And convinces in all seven roles. Very impressive. But I don’t believe I’ll introduce him to my wife.
Buy your vinyl copy hereÂ .
Full biography – discography and chart positions here.
Latimore – 1973 – Latimore
‘s first album and a classic bit of Miami soul! The record’s something of a groundbreaker as it mixes older southern soul with some bluesy inflections using small combo instrumentation and a warm sweet sound on production to create a new groove that pushed soul music a few steps farther into the future for the 70s, and which forever guaranteed a place for older blues artists who were willing to update their sound! The album includes ‘s classic version of “Stormy Monday”, done in a modern stepping groove that’s quite different than earlier versions – plus the tracks “(Be Yourself) Be Real”, “So Much Love”, “If You Were My Woman”, and a version of “For What It’s Worth” that begins with a very cool melodica groove!
This is a @240 vinyl rip of the original Glades records Lp including covers.
Latimore – 1974 – More, More and More
Classic seventies material from , and still a very popular album in Chicago! Includes the massive long version of “Let’s Straighten it Out”, with the righteous extended Fender Rhodes solo really opens up the track, taking it way past a simple southern style, into a righteous trippy groove. Other tracks are great, too and titles include “Ain’t Nothin’ You Can Do”, “Put Pride Aside”, and “That’s How It Is”.
This is a @320 vinyl rip of the original Glades Records Lp including covers
Buy the AlbumLatimore – 1975 – Latimore III (plus early discography)
Free Download AlbumLatimore – 1975 – Latimore III (plus early discography)
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Teena Marie hit paydirt right from the start, with four very successful, highly acclaimed LPs for Motown at the back end of the 70s and beginning of the 80s. She subsequently managed to secure her success upon moving to Epic Records, before a lull in the 90s, although “Passion Play” from 1994 was a gem. Ten years later she resurfaced with the wonderful “La Doña” CD proving she still had the chops to cut it with the best. With two further albums consolidating her comeback, it appeared that Lady T was indeed back on the block with so much promise yet to fulfil.
As you may be aware, Teena Marie passed away while in her sleep on December 26th 2010. As a much overdue testimony to her rich contribution to soul music, we invite you to savour two of her finest albums from her Motown era.
A1I’m A Sucker For Your Love 5:54
A2 Turnin’ Me On 6:09
A3Don’t Look Back 7:34
B1 Deja Vu (I’ve Been Here Before) 7:37
B2I’m Gonna Have My Cake (And Eat It Too)5:23
B3 I Can’t Love Anymore7:16
A Brief Tribute to Lady T byTrakbuv
Teena Marie is arguably the most renowned of blue-eyed songstresses associated with our genre. For me, what singled her out from her white contemporaries, both before and since is her unique vocal approach. Unlike others, she made no attempt to cling to the tried and tested schools of blues or gospel earthiness in her voice – instead she graced us with something quite unconventional for a blue-eyed soul singer – an utterly unique palette. Born Mary Christine Brockert in Santa Monica, California in 1956, her ancestry has been quoted to include a mixture of Portuguese, Italian, Irish and Native American. By the age of 8 she had had a minor acting part on The Beverley Hillbilliesand later learned to play piano, guitar, bass and congas. In the early seventies, her family moved to LA where she became embroiled in the historically black enclave of “Venice Harlem” which most likely played a prominent role in infusing her spirit with its distinct soulfulness. Her artistic bent continued to flourish while studying English Literature at college accompanied by fill-outs at pizza parlours and try-outs at several recording studios.
In 1975, Lady Luck smiled on Lady Tee when she and her assembled band presented themselves to Hal Davis at Motown Records. Apparently they were drafted to take part in a TV pilot entitled“Orphanage Children”, and when that got shelved, Motown signed Teena as a solo entity. Languishing in the background of the Motown empire (what other potential giants must have been lurking back there ?), she cut several songs with a host of producers, a couple of which have seen the light of day – most notably the exquisite powerhouse ballad “Don’t turn your back on me” (from 1977) – how does this stuff get squandered ? All told, she had been at Motown for over 3 years before her almost legendary hook-up with Rick James. Rick was scheduled to record an album with Diana Ross, but upon hearing Teena, he made one of his defining decisions to produce “the little white girl” instead. Not only that, but he took time out to mentor and nurture her burgeoning talent as a singer, writer and producer.
What would have happened if Rick James hadn’t happened is anybody’s guess, but I suspect we would have lost another musical genius to the backwaters of soul’s forgotten heros. It is hardly surprising to know they had a personal relationship that lasted for less than a year, punctuated by Rick’s drug abuse and womanising – and even an engagement that apparently lasted but two weeks. It is also interesting to note that following Teena’s landmark lawsuit against Motown when she left for Epic Records (it became known as “The Brockert Initiative” – where a record company could not retain an artist under contract without releasing new material, whereupon said artist could sign and release with another label instead of being held back by the unsupportive one), Motown blocked her from recording with him.
Wild and Peaceful
Her debut for Motown records surfaced in 1979 entitled “Wild and Peaceful”. The lead single was a duet between Rick and Teena on “I’m A Sucker For Your Love”, a wonderfully melodic Rick James composition in the “You and I” tradition – originally written for Diana Ross – and with hit steaming from the grooves, it reached #8 R&B. However with the exception of a gloriously joyful cover of Smokey’s “Don’t You Look Back”, Rick James filled the LP with downtempo numbers, in contradiction to his own record output. It is possible that this was an outlet for Rick’s ballad sensibilities which he later exploited on his own “Garden of Love” LP in 1980. Either way, I find this to be Rick’s finest production – he really shows a depth and charisma that I don’t believe he ever quite captured in his own work. The synergy between Teena and Rick must have lit up the electricity grids in twenty States as this has a majesty that really happens but once in a lifetime and my favourite album by Lady T. The big radio track back in the day was “I’m Gonna Have My Cake” and I can still remember my heartbeat locked into every rise and fall, my hairs saluting every sway, and my eyes transfixed by something that defied definition. Co-written by Michelle Holland and Teena, this is simply one of greatest recording to ever grace Motown studios. And over 30 years later, I’m still left breathless by the living tenderness in its message.
When I did eventually get to hear the album the following year, this was the track I placed the needle first. However nothing could have prepared me for the overall beauty and craftsmanship contained within. “Déjà Vu” quickly became a favourite – with Rick James conjuring every trick from his vast repertoire to make the ever changing landscape as immense as it is captivating. And oh Teena – dear Teena – soaring the skies from lifetime to wretched lifetime with the grace and dynamism of someone who surely has far too much maturity to have not been reborn. Unbelievable. Another track I return to over and over again is the sexy, sultry “Turnin’ Me On”, another choice vehicle for Teena’s sweeping brushstrokes soaked in vibrancy. The album closes appropriately with a deadly slow “I Can’t Love Anymore”, dripping in pathos and maybe a touch melodramatic for its 7 minutes length, it’s still absolutely unmissable.
A1 I Need Your Lovin’ 7:29
A2 Young Love 5:29
A3 First Class Love 5:06
A4 Irons In The Fire 3:32
B1 Chains 7:09
B2 You Make Love Like Springtime 5:00
B3 Tune In Tomorrow 6:22
B4 You Make Love Like Springtime (Reprise) 3:20
Irons In The Fire
Although “Wild & Peaceful” is my favourite – as is so often with debuts for me – it may not be her strongest. For that honour I had a choice between “It Must Be Magic” or “Irons In The Fire” – and after much deliberation I plumped for her third LP. Unlike her debut, the sleeve covers of her subsequent LPs did picture the diminutive princess in all her Caucasian glory, a fact that has never faltered her deep appreciation from all ethnicities. “Irons In The Fire” was released in 1980 and has been cited as Teena’s favourite. For the first time, Teena wrote 6 of the 7 tracks (and co-wrote “Tune Into Tomorrow”), and possibly more significantly, took full control of production for the first time. This was a startling but highly deserved recognition for her rapid development as a formidable all-rounder, something that went on to prove and steady her as an artist that was here to stay. And boy did she rise to the challenge. “I Need Your Loving” needs no introduction, peaking at #9 R&B and #37 Pop. The other uptempo tracks (“First Class Love” and “Chains”) aren’t as compelling as the lead single, and are probably too messy to be classed as dancefloor fodder, but they are both fine examples of Teena’s knack for keeping the groove ever changing and interesting.
But this LP is really all about the ballads. “Young love” is a gorgeous example, whose tender magic is spun by a gloriously sympathetic production. The gentler “Irons in the fire” is equally faultless, wearing a fresh rose in hair and the spotlight singling her out from the midnight sky, the orchestra take us on a carefree carpet ride. There’s an impudent skip in the air when “You Make Love Like Springtime” begins, emerging as a scrumptious delight with Teena teasing us with her vocal virtuosity. And on to the highlight for me, the jazztazztic “Tune Into Tomorrow” – surely her follow-up to “I’m Gonna Have My Cake” – and ever-so-nearly as magnificent. No higher commendation necessary. The album itself was a great success, reaching #9 R&B and #38 Pop.
Wild, Now Peaceful
Apparently around 2005, tragedy struck as Teena lay asleep in her hotel room. A large picture frame fell on her head that triggered a series of momentary seizures for the remainder of her days. On the afternoon of December 26th 2010, Teena was found by her daughter, Alia Rose, one day after her 19th birthday. Teena was pronounced dead and the cause still remains a mystery, although it has been suggested that it may have been a massive seizure. And this on the back of rekindling her career with three well-received albums in the noughties.
Teena Marie Discography Download Torrent Full
Much lauded as the Ivory Queen of Soul – maybe one day she will get the recognition she so richly deserves in the annals of gifted singer-songwriters, and as someone who stood almost alone in a sea of black, but was never championed for her colour – only her outstanding credentials. No greater epitaph could I wish to bestow.