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┌─────────────────────────────────────────────────────────────────────┐
│ Title │
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ─│─│─┐
│ │ | RiPPER..: Billy Cristal │ GENRE......: Soul | │ │
│ │ :.LABEL...: Vampisoul │ SCENE DATE.: 07/01/2003 .: │ │
│ │ · bITRATE.: 192kbps/44.1Hz/Full S│ STORE DATE.: 00/00/2003 · │ │
│ │ : ENCODER.: Lame │ TRACKS.....: 16 │ │
│ │ | SiZE....: 60,2 MB │ SOURCE.....: CDDA | │ │
└─│─│─· ·─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└─────────────────────────────────────────────────────────────────────┘
───────────────────────────────────────────────────────────────────────
───────────────────────────────────────────────────────────────────────
┌────────────────────────[ TRACKLIST ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ Number Trackname Time │ │
│ │ │ │
│ │ 01 I Don't Need it (Barry White) 02:26 │ │
│ │ 02 A Man Ain't Nothin' (Barry White) 03:27 │ │
│ │ 03 I Got Love (Viola Willis) 02:41 │ │
│ │ 04 Lost Without the Love of My Guy 03:03 │ │
│ │ (Viola Willis) │ │
│ │ 05 This Thing Called Love (Johnny Wyatt) 02:15 │ │
│ │ 06 To Whom it May Concern (Johnny Wyatt) 02:49 │ │
│ │ 07 Together Forever (Viola Willis) 02:48 │ │
│ │ 08 Don't Kiss Me Hello (Viola Willis) 02:40 │ │
│ │ 09 It May Be Winter Outside 02:50 │ │
│ │ (But in My Heart It's Spring) (Felice T │ │
│ │ 10 Everybody's Going Mod (Johnny Wyatt) 02:34 │ │
│ │ 11 I Feel Love Coming on (Felice Taylor) 03:10 │ │
│ │ 12 You're Out of My Mind (Viola Willis) 02:29 │ │
│ │ 13 Under the Influence of Love 02:36 │ │
│ │ (Felice Taylor) │ │
│ │ 14 Don't Take Your Love form Me 02:39 │ │
│ │ (Barry White) │ │
│ │ 15 All in the Run of A Day (Barry White) 02:36 │ │
│ │ 16 Love Theme [instrumental] 02:35 │ │
│ │ (Barry White) │ │
│ │ : : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ────────┘
┌────────────────────────[ RELEASE NOTES ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ Sixteen tracks featuring the super rare Bronco and Mustang soul │ │
│ │ singles! This album highlights the start of his career as a │ │
│ │ prime R&B architect. In 1966, Bob Keane of Del-Fi gave Barry │ │
│ │ his first opportunities as a producer, engineer and A&R man. │ │
│ │ This CD also features tracks by Felice Taylor, Johnny Wyatt and │ │
│ │ Viola Wills that were written & produced by White. Full liner │ │
│ │ notes and discography. │ │
│ │ │ │
│ │ * │ │
│ │ │ │
│ │ Genre: Rock │ │
│ │ Styles: Soul, Funk, Disco, Urban, Smooth Soul │ │
│ │ │ │
│ │ * │ │
│ │ │ │
│ │ AMG Review: │ │
│ │ │ │
│ │ In 1966-67, long before he attained seventies superstardom as a │ │
│ │ growling bedroom funkster, Barry White gained valuable │ │
│ │ experience as an A&R man for the Del-Fi label in Los Angeles. │ │
│ │ This compilation has 16 tracks that he was involved with as │ │
│ │ producer, engineer, songwriter, and/or session musician, the │ │
│ │ results appearing on Del-Fi's Bronco and Mustang subsidiaries; │ │
│ │ note, however, that only five of the cuts are by White himself │ │
│ │ (including one instrumental and a pre-Del Fi 1965 single │ │
│ │ released under the pseudonym of Lee Barry). At this time, White │ │
│ │ was very much under the spell of Motown both as producer and │ │
│ │ songwriter (he wrote or co-wrote all but two of these tunes). │ │
│ │ The material, whether by White or other Mustang/Bronco artists │ │
│ │ Felice Taylor, Viola Wills, and Johnny Wyatt, consists for the │ │
│ │ most part of very derivative, but nonetheless enjoyable and │ │
│ │ professional, Motown variations. Felice Taylor's "It May Be │ │
│ │ Winter Outside," a #42 pop hit in 1966, is the most accurate │ │
│ │ mid-'60s Supremes imitation bar none, both for Taylor's uncanny │ │
│ │ Diana Ross-like vocals and the dead-on Motownesque arrangement. │ │
│ │ Her only slightly less Supremish "Under the Influence of Love," │ │
│ │ though unreleased in the U.S., was a #11 hit in the U.K. in │ │
│ │ 1967; an instrumental version (credited to White) is also on │ │
│ │ the CD. As for White's own performances, it's a shock to hear │ │
│ │ that familiar hoarse voice applied to much lighter, poppier │ │
│ │ songs than we're accustomed to hearing from the singer, and │ │
│ │ though they're okay efforts, it's easy to see why they may not │ │
│ │ have been considered commercial properties in the '60s. An │ │
│ │ interesting document of White's little-heard formative years, │ │
│ │ and a decent pickup for aficionados of little-heard '60s soul │ │
│ │ in general. │ │
│ │ - Richie Unterberger │ │
│ │ │ │
│ │ * │ │
│ │ │ │
│ │ About Barry White: │ │
│ │ │ │
│ │ Born Sep 12, 1944 in Galveston, TX │ │
│ │ Years Active: 70s-2000+ │ │
│ │ Genres: Rock │ │
│ │ Styles: Smooth Soul, Urban, Disco │ │
│ │ Tones: Sexy, Romantic, Passionate, Sensual, Sexual, Elegant │ │
│ │ │ │
│ │ Instruments: Vocals, Keyboards, Arranger │ │
│ │ │ │
│ │ │ │
│ │ Say the name Barry White and you'd be hard pressed to follow it │ │
│ │ with the name of any other recording artist with such a huge, │ │
│ │ cross-sectional following. He's at home appearing on Soul │ │
│ │ Train, guesting with a full band on The Today Show, and │ │
│ │ appearing in cartoon form in various episodes of The Simpsons. │ │
│ │ During the '70s, Dinah Shore devoted a full hour of her daily │ │
│ │ syndicated Dinah! show to White. While there was a period where │ │
│ │ Barry White wasn't releasing records or making the pop charts, │ │
│ │ he did stay active touring and appearing on other artists' │ │
│ │ records including Quincy Jones' "The Secret Garden (The │ │
│ │ Seduction Suite)," Regina Belle, and rap star Big Daddy Kane's │ │
│ │ "All of Me." It's surprising to find out that such an │ │
│ │ illustrious career almost didn't happen because White wasn't │ │
│ │ interested in being a recording artist. │ │
│ │ White made his first record when he was 16 with a group called │ │
│ │ the Upfronts. The song was called "Little Girl" on a local L.A. │ │
│ │ label called Lummtone Records. Later he worked for various │ │
│ │ independent labels around Los Angeles, landing an A&R position │ │
│ │ with Bob Keene, the man who first recorded Sam Cooke. His │ │
│ │ label, Keen Records, was hot at the time with a group called │ │
│ │ the Bobby Fuller Four in 1966. White was hired for 40 dollars a │ │
│ │ week to do A&R for Keene's other labels, Mustang and Bronco. │ │
│ │ During this time, White flirted with the idea of being a │ │
│ │ recording artist, making a record for Bronco called "All in the │ │
│ │ Run of a Day." But he chose to stick with his A&R duties. One │ │
│ │ of the first groups he worked with was the Versatiles who later │ │
│ │ changed their name to the 5th Dimension. White's first big hit │ │
│ │ came from an artist familiar to dancefloor denizens ù Viola │ │
│ │ Wills, whose "Lost Without the Love of My Guy" went Top 20 R&B. │ │
│ │ His salary went up to 60 dollars a week. White started working │ │
│ │ with the Bobby Fuller Four. Bob Keene and Larry Nunes ù who │ │
│ │ later became White's spiritual advisor and true friend ù wanted │ │
│ │ to cut a female act. White had heard about a singer named │ │
│ │ Felice Taylor. They had three hit records, "It May Be Winter │ │
│ │ Outside," "I'm Under the Influence of Love," and "I Feel Love │ │
│ │ Coming On." They were huge hits in England. White started │ │
│ │ making 400 dollars a week. │ │
│ │ │ │
│ │ When Bronco went out of business, White began doing independent │ │
│ │ production. Those were some lean times for White. Veteran │ │
│ │ arranger Gene Page, who would later arrange or co-arrange │ │
│ │ White's hits, helped him out, giving him work and non-repayable │ │
│ │ loans. Then three years later, Paul Politti, who also worked at │ │
│ │ Bronco, contacted him to tell him that Larry Nunes was │ │
│ │ interested in starting a business with him. Nunes had started │ │
│ │ cutting tracks for a concept album he was working on. │ │
│ │ Meanwhile, White had started working with this girl group who │ │
│ │ hadn't done any singing professionally. They rehearsed for │ │
│ │ almost a year. White wrote "Walkin' in the Rain (With the One I │ │
│ │ Love)" with lyrics that were inspired by conversations with one │ │
│ │ of the singers, Glodean. White christened the group Love │ │
│ │ Unlimited. │ │
│ │ │ │
│ │ Larry Nunes took the record to Russ Regan, who was the head of │ │
│ │ the Uni label owned by MCA. Love Unlimited's From a Girl's │ │
│ │ Point of View became a million-seller. Soon after, Regan left │ │
│ │ Uni for 20th Century Records. Without Regan, White's │ │
│ │ relationship with Uni soured. With his relationship with Uni in │ │
│ │ chaos and Love Unlimited contract-bound with the label, White │ │
│ │ decided he needed to work with another act. He wanted to work │ │
│ │ with a male artist. He made three song demos of himself singing │ │
│ │ and playing the piano. Nunes heard them and insisted that he │ │
│ │ re-record and release them as a recording artist. They argued │ │
│ │ for days about it. Then he somehow convinced White to do it. │ │
│ │ White was still hesitating up to the time the label copy was │ │
│ │ made. He was going to use the name "White Heat," but the record │ │
│ │ became the first Barry White album. That first album was 1973's │ │
│ │ I've Got So Much to Give on 20th Century Records. It included │ │
│ │ the title track and "I'm Gonna Love You Just a Little More │ │
│ │ Baby." │ │
│ │ │ │
│ │ White got a release from Uni for Love Unlimited and they joined │ │
│ │ him over at 20th Century Records. Then he had a brainstorm for │ │
│ │ another concept album. He told Regan he wanted to do an │ │
│ │ instrumental album. Regan thought he had lost it. White wanted │ │
│ │ to call it the Love Unlimited Orchestra. The single, "Love's │ │
│ │ Theme," went to number one pop, was a million-seller, and was a │ │
│ │ smash all over the world. The song earned him a BMI award for │ │
│ │ over three million covers. │ │
│ │ │ │
│ │ For the next five years, from 1974 to 1979, there was no │ │
│ │ stopping the Barry White Hit Train ù his own Stone Gon, Barry │ │
│ │ White Sings Love Songs for the One You Love ("It's Ecstasy When │ │
│ │ You Lay Down Next to Me," "Playing Your Game Baby"), Let the │ │
│ │ Music Play (title track, "You See the Trouble with Me"), Just │ │
│ │ Another Way to Say I Love You ("I'll Do for You Anything You │ │
│ │ Want Me To," "Love Serenade"), The Man ("Your Sweetness Is My │ │
│ │ Weakness," "Sha La La Means I Love You," "September When We │ │
│ │ Met," a splendid cover of Billy Joel's "Just the Way You Are"), │ │
│ │ and Love Unlimited's In Heat ("I Belong to You," "Move Me No │ │
│ │ Mountain," "Share a Little Love in Your Heart," and "Love's │ │
│ │ Theme," with lyrics). He also scored a soundtrack for the 20th │ │
│ │ Century Fox film The Together Brothers, enjoying a resurgence │ │
│ │ on home video. │ │
│ │ │ │
│ │ His studio band included such luminaries as guitarists Ray │ │
│ │ Parker Jr. (pre-Raydio, co-writer with White on "You See the │ │
│ │ Trouble With Me"), bassist Nathan East, Wah Wah Watson, David │ │
│ │ T. Walker, Dean Parks, Don Peake, bassist Wilton Felder of the │ │
│ │ Crusaders, Lee Ritenour, drummer Ed Greene, percussionist Gary │ │
│ │ Coleman, and later keyboardist Rahn Coleman. His hit streak │ │
│ │ seemed, well, unlimited. Then it all derailed. Russ Regan and │ │
│ │ another ally, Hosea Wilson, left 20th Century Records and White │ │
│ │ was left with management that he thought of in less than │ │
│ │ glowing terms. │ │
│ │ │ │
│ │ White left after fulfilling his contract with two more album │ │
│ │ releases, Love Unlimited Orchestra's My Musical Bouquet and his │ │
│ │ own I Love to Sing the Songs I Sing. White signed a custom │ │
│ │ label deal with CBS Records. At the time it was touted as one │ │
│ │ of the biggest deals ever. He started a label called Unlimited │ │
│ │ Gold. The roster included White, Love Unlimited, the Love │ │
│ │ Unlimited Orchestra, Jack Perry, and a teenaged singer named │ │
│ │ Danny Pearson who charted with a song called "What's Your Sign │ │
│ │ Girl." He also did a duet album with Glodean called Barry & │ │
│ │ Glodean. Aside from the gold album The Message Is Love, most of │ │
│ │ the albums weren't huge sellers. After eight Barry White │ │
│ │ albums, four Love Unlimited albums, four Love Unlimited │ │
│ │ Orchestra albums, constant touring, and dealing with the rigors │ │
│ │ of the music industry, White decided to take a break. │ │
│ │ │ │
│ │ Then in 1992, White signed with A&M, releasing the albums The │ │
│ │ Man Is Back, The Right Night & Barry White, and Put Me in Your │ │
│ │ Mix (which contains a duet with Issac Hayes, "Dark and │ │
│ │ Lovely"). The Icon Is Love became his biggest-selling album │ │
│ │ since the '70s releases, going multi-platinum. It includes the │ │
│ │ platinum single "Pratice What You Preach." The production │ │
│ │ lineup includes Gerald Levert and Tony Nicholas, his godson │ │
│ │ Chuckii Booker, Jimmy Jam and Terry Lewis, and White and his │ │
│ │ longtime friend Jack Perry. While some later efforts buried his │ │
│ │ vocals in whiz-bang electronic effects, on The Icon Is Love, │ │
│ │ White's deep steam engine baritone pipes are upfront in the │ │
│ │ mix. Staying Power followed in 1999, showcased in the best │ │
│ │ tradition of soul music where the focus is the singer and the │ │
│ │ song. White's thankful for a career that has taken him from the │ │
│ │ ghetto to international success with 106 gold and 41 platinum │ │
│ │ albums, 20 gold and ten platinum singles, with worldwide sales │ │
│ │ in excess of 100 million. │ │
│ │ - Ed Hogan (AMG) │ │
│ │ │ │
│ │ : : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ────────┘
┌────────────────────────[ GROUP NEWS ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ OSC is still holding it down after more than a year in tha scene. │ │
│ │ Our dedication to bringing you the best in ol skool classics is, │ │
│ │ and always will be, our driving force. Quality over quantity. │ │
│ │ │ │
│ │ "It's all about the music, fuck the other ish." - OSC │ │
│ │ │ │
│ │ │ │
│ │ │ │
│ │ │ │
│ │ As always we'd like to greet those groups adding, not taking away: │ │
│ │ │ │
│ │ aPC - WHOA - SSR - OMNi - XXL - KSi - CHR - RNS - ESC │ │
│ │ │ │
│ │ If you're not listed, don't worry, props go out to all good groups. │ │
│ │ │ │
│ │ One last note: we at OSC do not fill requests, nor do we condone │ │
│ │ piracy. For review purposes only, so delete after 24 hrs and │ │
│ │ : support the artists. : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ASCII BY mMhCkB ───────┘
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