"The Rising Storm - Calm Before...- 1967 US":
The Rising Storm was a rock group which was active at Phillips Academy in Andover, Massachusetts between 1965 and 1967.
The original members of the group were Bob Cohan, Todd Cohen, Charlie Rockwell, Tom Scheft, Tony Thompson, and Rich Weinberg.
The Rising Storm is most notable for their first album, "Calm Before", as being "one of the rarest and most respected garage band albums".
More than forty years after its recording, original mint copies of "Calm Before" can fetch 4 figures among record collectors interested in the garage rock era. Covers of The Remains "Don't Look Back" and Love "A Message To Pretty" make this a classic. (REPOST BY REQUEST)

-by dj fanis: here

"Isaac Hayes - ...To Be Continued-1970 US":
Isaac Hayes (August 20, 1942 – August 10, 2008) was an American songwriter, musician, singer, and occasionally an actor. Hayes was one of the creative influences behind the southern soul music label Stax Records, where he served both as an in-house songwriter and as a record producer, teaming with his partner David Porter during the mid-1960s. Hayes, Porter, Bill Withers, the Sherman Brothers, Steve Cropper, and John Fogerty were inducted into the Songwriters Hall of Fame in 2005 in recognition of writing scores of notable songs for themselves, the duo "Sam & Dave", Carla Thomas, and others.
"To Be Continued" is a studio album by Isaac Hayes, issued in 1970 on Stax Records' Enterprise label. The LP includes Hayes' cover of the Burt Bacharach/Hal David composition "The Look of Love", which was issued as a single in an edited form, peaking at number 79 on the Billboard Hot 100.
The "To Be Continued" album as a whole peaked at number one on the Billboard Black Albums and Jazz Albums charts, and at number 11 on the Billboard 200.
Released in late 1970 on the heels of two chart-topping albums, "Hot Buttered Soul" (1969) and "The Isaac Hayes Movement" (also 1970), Isaac Hayes and the Bar-Kays retain their successful approach on those landmark albums for "To Be Continued", another number one album. Again, the album features four songs that span far beyond traditional radio-friendly length, featuring important mood-establishing instrumental segments just as emotive and striking as Hayes' crooning.
The album's most epic moment opens with light strings and horns, vamping poetically for several minutes before Hayes even utters a breath then, once the singer delivers the song's orchestral chorus, the album hits its sentimental peak, Hayes elevating a common standard to heavenly heights once again. Elsewhere, "Our Day Will Come" features a nice concluding instrumental segment driven by a proto-hip-hop beat that proves just how ahead of his time Hayes was during his early-'70s cycle of Enterprise albums.
-by dj fanis: here

"60's-70's Funk from the movies":
Here is a compilation i made a few years ago with funk songs from the movies.Repost by request. Enjoy!!!
-by dj fanis: here

"The Hollies - Butterfly - 1967 UK":

"Butterfly" is the second studio album released by British band The Hollies in 1967. It was also the last new Hollies album to feature Graham Nash until 1983's "What Goes Around". This, like its predecessors for "Certain Because" and "Evolution", featured songs written solely by Allan Clarke, Graham Nash, and Tony Hicks.
This album was really a Graham Nash-led project, and he featured as lead vocal more than on any prior album.
As with "Evolution", none of the songs on the album were selected for single or EP release in the UK. In the U.S., "Dear Eloise" was issued as a single A-side while "Try It" and "Elevated Observations?" were issued as B-sides of the "Jennifer Eccles" and "Do The Best You Can" singles, respectively.


-by dj fanis: here

"Gil Scott Heron - Pieces Of A Man -1971 US":

Gilbert "Gil" Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author known primarily for his work as a spoken word performer in the 1970s and '80s, and for his collaborative works with musician Brian Jackson.

His collaborative efforts with Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues".

"Pieces Of A Man" is the debut studio album of American soul artist and jazz poet Gil Scott-Heron, released in 1971 in stereo format on Flying Dutchman Records in the United States. It was also issued in the United Kingdom on Philips Records in 1972. Recording sessions for the album took place at RCA Studios in New York City on April 19 and 20 in 1971. The album serves as the follow-up to Scott-Heron's live debut album, Small Talk at 125th and Lenox (1970), and it features compositions by Scott-Heron that were recorded in a more conventional song structure rather than the spoken word style of his previous work.
The album marked the first of several future collaborations by Scott-Heron with musician Brian Jackson. It is one of Scott-Heron's most critically acclaimed albums and one of the Flying Dutchman label's best-selling LP's. Earning modest success upon its release, "Pieces Of A Man" has since received retrospective notice and praise from critics. Music writers have noted Scott-Heron's and Jackson's musical fusion of soul, jazz-funk, and proto-rap styles on the album and its influence on subsequent dance and hip hop music.

-by dj fanis: here

RIP Gil Scott-Heron

I just realised that on the 27th of May The Godfather of rap Gil Scott-Heron died aged 62.

A great artist, i still remember the night i saw him live in London with Jamiroquai.

He would be missed.

In later years, he struggled publicly with addiction. Since 2001, Mr. Scott-Heron had been convicted twice for cocaine possession, and he served a sentence at Rikers Island in New York for parole violation.
Commentators sometimes used Mr. Scott-Heron’s plight as an example of the harshness of New York’s drug laws. Yet his friends were also horrified by his descent. In interviews Mr. Scott-Heron often dodged questions about drugs, but the writer of the New Yorker profile reported witnessing Mr. Scott-Heron’s crack smoking and being so troubled by his own ravaged physical appearance that he avoided mirrors. “Ten to 15 minutes of this, I don’t have pain,” Mr. Scott-Heron said in the article, as he lighted a glass crack pipe.

RIP Gil

by hippy-djkit

"Vanilla Fudge - Renaissance-1968 US":

"Renaissance" (ATCO Records 33-244) is the third album by the rock band Vanilla Fudge. Released in summer 1968, it was the band's first album to feature mostly original material, with five of its seven tracks penned by band members.
The original album's two cover tunes are Essra Mohawk's "The Spell That Comes After" (erroneously credited on original pressings of the LP to Frank Zappa's art director Cal Schenkel), and "Season Of The Witch," originally written and performed by the Scottish folk singer Donovan. The band also interpolates lyrics from a second Essra Mohawk song, "We Never Learn," into their rendition of "Season Of The Witch."
The album peaked at #20 on the Billboard album charts in July 1968.

-by dj fanis: here

"Tomita- Snowflakes Are Dancing -1974 Japan":

Back in the '70s, the rapid development of synthesizers and electronic keyboards had a huge impact on popular music, with Isao Tomita among the leading exponents of multimedia, surround-sound events associated in Western Europe with such very different musicians as Rick Wakeman and Jean-Michel Jarre.
The present album has less grandiose aims, being a well-balanced selection of, to quote the original liner notes, "Virtuoso electronic performances of Debussy's beautiful tone paintings." It's easy to scoff at the concept behind Tomita's approach, take some of the most poetic music around and give it the consistency of aural cotton wool, yet there's no denying the skill with which he translates Debussy's soundworld, preserving the harmonic interest of the piano originals and bringing out many subtleties of texture. Inevitably the slower numbers come off best,"Clair de Lune" or "Reverie" could easily become chill-out favorites.

-by dj fanis: here

"Henry Mancini - The Latin Sound Of Henry Mancini-1965 US":


This is a 1965 album for RCA by the easy listening composer. Features 12 tracks, including ''Senor' Peter Gunn" and "Tico-Tico".
"The Latin Sound" have a groovy sound thanks to some great arrangements from the legendary Henry Mancini.The album's less a straight Latin date than it is a new approach to the grooves Mancini was laying down on his 60s soundtracks, a mix of bossa and cha cha-inspired themes that sparkle wonderfully with warm jazzy touches from a host of LA players who include Dick Nash on trombone, Harry Klee on flute, Ted Nash on alto and tenor, Jimmy Rowles on piano, Laurindo Almeida on guitar, and Gene Garf on organ, all working beautifully under Mancini's direction.

Lots of tracks have some nice groovy organ, which gives the arrangements a cool lively sound and titles include "Preciosa", "Baia", "Carnavalito", "Quiet Nights Of Quiet Stars", "Tico Tico", and the nice "Senor Peter Gunn", a Latin remake of Mancini's big hit.

-by dj fanis: here