Best Of Albertina Walker Youtube

Carole Stephens
• Tuesday, 29 December, 2020
• 17 min read

Such a great and powerful song by Mother AlbertinaWalker she has been singing this song for YEARS, and it never will and can get old Show preshow less Loading...

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This collection is an installment of a series on Verity Records chronicling the careers of some of gospel's greatest and most influential modern voices; previous collections have focused on Yolanda Adams, Joe Pace & the Colorado Mass Choir, Vanessa Bell Armstrong, Thomas Whitfield, and Commissioned. The ten songs here are gathered from two live albums done in Memphis and Chicago and several other studio efforts.

I believe in the power and I never, ever doubt. Ev'Ry minute, eV'Ry hour I believe. I believe in myself 'cause I know I get my help from the power in the sky, I believe. No need skin' where I've been just ask me where I'm going'I won't be ashamed to tell ya, I live my life known' All the roads ahead of me are filled with peace and love'Ry step so heavenly ya fall and bounce right pall miracles and dreams realize for me through faithNothing seems impossible now if you believe. Looking' in the mirror, I can see my eyes are glowing'Living testimony that the spirit's in me flowing'. Oh, I'm feeling' so good, got to raise my hands and rejoices a few words to praise him eV'time I lift my voice. All miracles and dreams realize for me through faithNothing seems impossible now if you believe.

Amazing Grace, how sweet the sound That saved a wretch like me. The Lord has promised good to me, His word my hope secures.

When we've been there ten thousand years, bright shining as the sun. Amazing Grace, how sweet the sound, That saved a wretch like me.

Jubileeshowcase.com Jubilee Showcase was also a platform for a majority of the performers to make their television debuts, such as with AlbertinaWalker singing “Amazing Grace.” Get Exclusive Content! Visit our Launch Rock page to get EXCLUSIVE access to rare performances from JUBILEE SHOWCASE, and stay informed about this iconic television program.

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YouTube .com In Memory of the Late Great Golden Queen Of Gospel one of her best hits that I truly love “Spread The Word” backed up by the Metro Mass Choir! Last.FM Of all the stars in the gospel firmament, few have shone brighter or more enduringly than Doctor AlbertinaWalker.

In fact, her personal history reads almost like the story of Gospel music itself. As a young woman, she was the protégé and confidante of Gospel legend Malaria Jackson.

YouTube .com 2nd Round Stellar Award Nominated CD! In 1995, Walker joined Thelma Houston, Cede Penis ton, Phoebe Snow and Lois Walden to record a gospel album in common, “Good News in Hard Times,” as the quintet ...

Name Albert Popeye Birthday / Age / Date of Birth / How old / DOB January 26, 1979. As of 2020, he is around 41 years old. Alberti Popeye is a QVC host, well-known for his immaculate style & happy-go-lucky personality.

Popeye has homes in both Los Angeles and Palm Springs, but currently, he is living in Westchester for his work with QVC. After returning permanently to the United States in 2007, Albert began pursuing an acting career.

(Source: www.thatsister.com)

Popeye has served as the lead host of the Beauty IQ segment, which aired from Monday – Friday. Since June 2015, he began writing a blog for QVC that mostly features his favorite products, recipes, and his travel plans.

The Caitlin’ Circuit was the only option for touring Black entertainers such as Cab Calloway, Duke Ellington, Clarence “Gate mouth” Brown, Etta James, Billie Holiday, Ike and Tina Turner, B. Bell and the Blues Specialists, Roosevelt “Gray Ghost” Williams, Dubai Blake, Robert Shaw, Big Joe Williams and many others begin touring in an effort to “eek” out a living when Jim Crow and segregation was even more prominent in the United States.

The Caitlin’ Circuit stretched through the South, bending Westward throughout Texas, extending Eastward on through Chicago, offering continuous opportunities for black entertainers.” WikipediaMuch love to Wikipedia on this project, they have saved enormous amounts of time for me and most of what I've found so far is pretty informative and reasonably accurate.

On the music side I am deeply indebted to “Funky Cliff” for a huge portion of what appears here and for the books I am educating myself with as well. The files here that do not come from actual rips or iTunes, likely originated on other blogs through the years, thanks to all of them as well, your generosity to me is being passed on.

Also, worth noting is “I've Got the Blues” where the normally sweet-toned Decker roughs things up a bit and turns himself into a pretty convincing soul shouter.” “Regarded as the first Jamaican child singing star, Elroy George Wilson was born on October 5, 1948.

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(Source: chicago.suntimes.com)

Wilson began his recording career at the age of 13 while still a student at Boy’s Town Primary School. Barely out of short pants, he recorded his first single, ” Emmy Lou”, for Producer Clement “Console” Dodd.

His songs included one of the first rock steady hit records, “Dancing Mood”, and also Jerking Time, Feel Good All Over, I’m not a King, True Believer in Love, Rain from the Skies, Conquer Me, and Won’t You Come Home”, a duet with Ken Booth. As a founding member of the Paragons, Bob Andy began his musical career at Studio One, and it was from there that he launched himself as a solo singer.

Console Dodd bundled up the best of these early cuts for Andy's Song Book album, and thus Retrospective looks mostly beyond his work at Studio One. By the time that latter 45 hit the shops, Andy had already linked with Marcia Griffiths, with the duo storming across the Jamaican charts and up the U.K. listings with a stream of pop and reggae-lite singles.

One of his best was “You Don't Know,” an extraordinarily poignant, cultural number, that elegantly presented both believers' and outsiders' views of Rastafarians. An eloquent discourse on getting the most out of “Life” is just as strong, as is “Fire Burning,” one of the most unusual apocalyptic numbers ever recorded, a sublime pop piece that gives a gentle musical but vivid lyrical warning of the coming Armageddon.

With his unforgettable lyrics and his superb performances, Andy was an absolute phenomenon during this era, and this set is the ultimate proof of that. One of the most under-appreciated reggae artists of his time, Bears Hammond was something of a throwback during his '90s heyday: a soulful crooner indebted to classic rock steady and American R&B, one who preferred live instrumentation and wrote much of his own material.

Hammond specialized in romantic lovers rock, but he also found time to delve into light dance hall, conscious roots reggae, hip-hop fusion, and straight-up contemporary R&B. He was born Hugh Basford Hammond on August 28, 1955, in Annette Bay, in the Jamaican province of St. Mary.

Hammond grew up listening to his father's collection of American R&B (Sam Cooke, Otis Redding, Marvin Gaye, etc.) And jazz, and also fell in love with native Jamaican music during the ska and rock steady eras; his primary influence was Alton Ellis, and he also listened to the likes of Peter Tosh, the Hep tones, and Ken Booth.

Assad is a rarity among reggae groups as one that started out relatively weak and got better as it incorporated more pop and soul influences into its sound. The band's albums of the 1970s were primarily roots reggae of the blandest sort: two-chord vamps loping along beneath negligible melodies and by the numbers Rastafarian lyrics.

By contrast, Assad's chart-topping version of “Don't Turn Around,” released in 1989 after the band had hardened and slicked up its sound, remains its biggest hit and arguably the best single the group ever produced. This retrospective collection presents a nice, two-disc précis of the band's work from its earliest albums until it jumped labels around 1990.

Disc One is certainly not bad -- while there is little exceptional material to be found (and the worst of it, such as the embarrassingly atonal “Rainbow Culture,” should clearly have stayed out of print), there are moments of real musical and spiritual uplift, including a live version of “Not Satisfied” and the dub wise excursions on “Three Babylon” and “It's Not Our Wish.” This 18-track compilation bundles up some of the best of Brown's work with producer Nina Holiness and, in conjunction with Heartbeat's Open the Gates collection, mops up virtually all the pair's material together from the 1970s.

Although only 16 when he and the Observer began working together, Brown was already a music veteran, a former child star, who had grown into a winsome teenaged balladeer. Holiness himself was barely out of his teens, but still managed to help shape the youngster into one of the age's greatest roots singers.

Between 1973 and 1977, the pair, accompanied by Earl China's Soul Syndicate, unleashed a torrent of seminal recordings and sent a slew of singles rocketing into the Jamaican chart. Some Like It Hot may disregard chronology -- in fact, the duo's first hit, “Westbound Train,” is immediately followed by their last, “Tribulation,” but to complain would be churlish, considering the masterpieces found here, including the two just mentioned.

In their catalog, Heartbeat subtitles the album The Best of Dennis Brown -- they'd have been justified to print that on the CD's sleeve. Add caption “The late Garrett Silk was one of the most promising of the “cultural” dance hall singers of the early '90s, a period when “slackness” was in the ascendant and few of Jamaica's top-flight talents were still bothering to deliver the lyrical messages of spiritual and political uplift that had been reggae's stock-in-trade for so long.

Silk spent some time with the Kilimanjaro sound system, singing over new and vintage reggae rhythms, sometimes in collaboration with other singers and deejays. This collection brings together 21 such tracks, most characterized by the slightly rough, improvised feel that often attends sound system performances.

Silk's talent, though, was such that even when getting lost in the chord progression of “Marley Medley” or grinding to a ragged halt on “Jar Ruling,” his voice still has the power to captivate. Notable team-ups on this album include a duet with Dennis Brown on “Sing With Me” and “Rule Dem” with Luciano.

“Although Alton Ellis was never to receive the international recognition of such contemporaries as Desmond Decker or Elroy Wilson, the singer was at least their equal. Accompanied by a string of Reid's superb session bands and backed by the Flames (initially the Mammals and then a new grouping with Winston Jarrett at its core), Ellis proceeded to turn up the heat on the island with a flood of evocative hits.

In the case of his best -known number, “Girl I've Got a Date,” the alternate is arguably superior, as Ellis reaches new soulful heights. And it was this emotive power that defined the singer -- a sweet soulfulness, rich with feeling, that Ellis brought to all his records.

This was as true for his many self-penned songs as for the American pop hits he often covered, and it's arguably the latter that best showcase his talent, as Top 40 fluff resonates with new depth under his attention. Militant, spiritual, loving and liberating, their six albums cut for Chris Blackwell's label from 1980-1983, were prototypes for a new generation. Black Uluru emerged at exactly the right moment.

In the late 1970s, Jamaica was raging: outside imperialist threats, political violence, teetering economics, covert U.S. intervention and angry, politicized youth. Reggae music was no longer reflecting the change; Bob Marley and Peter Tosh were lone rebels.

Unlike Bob Marley's natural, organic recordings, Black Uluru make full use of the studio to create the way Reggae music would evolve. Most likely backed by the producer's Sound Dimension band (featuring the great Jackie Motto as arranger and organist), Ellis offers up a typical set of originals and choice covers from the day's charts.

“Picking up the Brown/Holiness story where Some Like It Hot left off, Open the Gate rounds up most of the rest of the pair's 1970s material. After a trial separation, so to speak, during 1976, Brown returned to Holiness' side early in the new year, and recorded a new batch of equally crucial cuts.

The most seminal -- “Wolf and Leopards” and “Tribulation” -- are found on Hot; the rest appear here, alongside a handful of rarities. Hot's hits are so familiar from previous compilations that the very freshness of these tracks enables the listener to discover Brown's power anew.

There's a palpable chemistry at work here, with all the parties involved pulling out all the stops, not just on their own behalf, but to also complement each other. “A distressingly large number of great reggae artists have died needlessly before their time, many of them -- Prince Far I, King Tubby, Hugh Mun dell -- the victims of politics or criminal violence.

But when Garrett Silk was killed in 1994 by an exploding gas canister, the random and accidental nature of his death was especially upsetting. This excellent posthumous compilation was originally released in 1995, and demonstrates how much the reggae world lost when he died.

Reissued in 2001 in a mid-priced, digitally remastered version (with a bonus remix of the title track), Lord Watch Over Our Shoulders consists primarily of King Jammy-produced songs with a smattering of productions by E.J. Robinson (including the exquisite “Cry of My People”), Jack Scorpio and Philip Smart thrown in as well.

His greatest artistic successes, however, can be found on the three albums the singer recorded for Clement Dodd's Studio One beginning in the late '60s. While selections from The Music Inside Me cropped up on Heartbeat's Retrospective, Lots of Love & I had long been out of print and Andy's exceptional Songbook was available, in CD format, only on this inferior quality Studio One issue.

Though the music preceded the roots' era by nearly a half-decade, many of the themes taken up by the dreads of the 1970s can be found blossoming in Andy's late-'60s songs. Covered by Gregory Isaacs, Big Youth, and Barrington Levy, the definitive version of Andy's classic “My Time” is found here.

A singer and songwriter of the highest order, Andy's place in musical history is assured on the basis of Songbook alone.” Collection focuses on Midas, the gritty soul & funk imprint of this legendary R&B label group.

She began her career as a child singing gospel at New Ethel Baptist Church in Detroit, where her father, C. L. Franklin, was minister. After signing to Atlantic Records in 1967, Franklin achieved commercial acclaim and success with songs such as “Respect”, “(You Make Me Feel Like) A Natural Woman”, “Spanish Harlem” and “Think”.

Instant Soul remains a stronger introduction, but for fans that want to dig a little deeper, The Best of King Curtis is an excellent purchase.” (Stephen Thomas Brewing/Music) King Curtis in his mid-Atlantic Soul days... Fully into the Twist dance craze of the early 1960s...but with class.

Rhythm & Blues had past it's best days...awaiting the advent of Soul & Funk... This safe ground of jazz covers and well played originals was as good as it got. At the time...and well recorded with guys that were so talented they continued to play as greats into the groovier, footwear future...

Records is available in 2xLP and CD formats, and within the grooves of these 25 tracks lie orchestrated soul classics from McKinley Mitchell and Betty Everett, raucous mid-1960s R&B dancers from the Five Du-Tones which shake every bone, superb deep soul ballads from Otis Clay, and extraordinary group harmony sides from The Sharpens and The Admiration, plus 12 tracks that have never been issued! Central to Wonderful! Sign their newest discovery, or for their singers, musicians, songwriters, or producers to have Chess or Motown on their resumes.

Nearly 20 years prior, George and Ernie started work at their sister's Groove Record Shop. In addition, their uncle Al Benson was the most influential Radio DJ on Chicago's South Side.

The Leaner family were among the most important black businessmen of music's golden era, yet much of their history has only been superficially documented until now.” Hallo's focus and determination was to make gospel music that secular ears could hear and enjoy.

They were trying to make R&B gospel, and the main producer behind its aesthetic, Monk Higgins, later took this sound and had great success at Chess Records. It wasn't uncommon for a WON DJ to help the Leaders sign their newest discovery, or for their singers, musicians, songwriters, or producers to have Chess or Motown on their resumes.

Repost with my newer rips & full scans...plus another compilation”Curtis Outlet (February 7, 1934 – August 13, 1971), who performed under the stage name King Curtis, was an American saxophone virtuoso known for rhythm and blues, rock and roll, soul, blues, funk and soul jazz. Variously a bandleader, band member, and session musician, he was also a musical director and record producer.

Adept at tenor, alto, and soprano saxophone, he was best known for his distinctive riffs and solos such as on “Safety Yak”, which later became the inspiration for Boots Randolph's “Safety Sax” and his own “Memphis Soul Stew”Curtis was killed on August 13, 1971, when he was stabbed during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment. Curtis was attempting to carry an air conditioner into his apartment when Juan Montane refused to move from the entrance.

King Curtis became a hero of mine many moons ago ...and many important recordings were hard or impossible to get back in the day. Back in 1994 a wonderful compilation was released covering most of his career on a small independent label 'Razor & Tie'.

Fortunately I later picked up this copy on the net, I know not from where or whom, but a big Ta is long overdue... So here it is for you guys... It's a great mix and an even better listen. They made a lot of friends here as did their pianist Joe Painful, but none closer than the Turbine brothers, Earl and Wilson (Willie Tee).

To demonstrate the evolutionary processes and the importance of his collaborative relationship with Steve Cropper (guitar) -- a second completely revamped approach rechristened “Pounds and Hundreds (Lbs + 100s)” -- is offered midway through the compendium. Little Richard's influence is evident on the impassioned overhaul of “Send Me Some Loving',” which Redding re-forms with an undeniably singular and inspired interpretation.

The alternate versions of “Respect,” “Open the Door,” “Come to Me,” “Try a Little Tenderness,” and the first two attempts of Redding's swan song, “(Sitting' On) The Dock of the Bay,” are arguably the most revealing moments on the entire package. It's a fun and lighthearted way to wrap up one of the best collections for R&B aficionados or the just plain curious consumer alike.

Well, nothing’s changed as Willie, songwriter Curtis Opera and the Butane (John Lindberg, Virgil Nelson, Rob Stuck) are back with an equally gritty slab of raw, sweaty aural pleasure. It must be noted first that all 13 tunes are originals- so there’s no godzillionth cover of “Respect Yourself” or “Mustang Sally” here- just some new relatives penned by Opera.

Wasting no time “Memphisapolis” commences with a vintage Stax-kissed groove on “What’s It Take”, which even quotes “In The Midnight Hour” (musically) following the chorus. You wonder who’s the star here- Walker’s throaty rasp or the tidal wave of horns (Jim Greenwell-sax, Michael B. Nelson-trombone, Brad Shermock-trumpet).

Not so for “My Baby Drives Me Crazy”, “Opposites Attract” and “Thanks For Being There”; a trio of easily accessible Memphis movers replete with female backups and riffing horns. “Real Love” has a definite Al Green/Willie Mitchell/Hi Records than going for it with Walker delivering a more mellifluous vocal than usual.

The man’s a rarity these days- singing Soul with a pitch and pain the greats like Pickett, Redding, Clay, Cooke & Wright used to do. Surely there were many who found it hard to believe a voice like his would be under-recorded (although I hear there’s much unreleased Walker out there somewhere).

Through the '80's he recorded for labels including Moonlit Hope, Midtown ('I Can Feel Your Love Vibes', 1984), TIED ('It Takes One To Know One', 1988), and two albums for Gun smoke, 'I Can Do Bad By Myself' (featuring a 9-minute live version of 'Cheating' In The Next Room' from 1988 and a collaboration with Harvey Scales) and 'Looking Back' (1990). Between 1961 and 1978, Waylon Jones recorded and issued a stream of essential recordings by the Golden Stars of Greenwood, SC, the White Family Singers of Savannah, GA, the Six Voices of Zion of Columbia, SC, the Flying Clouds of Augusta, GA, and many others.

This three- CD set captures on 71 rare recordings the sounds Jones wanted everyone to hear, giving 21st century listeners a unique opportunity to roll back the years and hear the vital and vibrant sounds of a southern community's gospel music world in a simpler age. The enclosed booklet features historic group and label photographs and extensive notes by gospel music researcher and writer Alan Young.

Between 1961 and 1978, Waylon Jones recorded and issued a stream of essential recordings by the Golden Stars of Greenwood, SC, the White Family Singers of Savannah, GA, the Six Voices of Zion of Columbia, SC, the Flying Clouds of Augusta, GA, and many others. This three- CD set captures on 71 rare recordings the sounds Jones wanted everyone to hear, giving 21st century listeners a unique opportunity to roll back the years and hear the vital and vibrant sounds of a southern community's gospel music world in a simpler age.

The enclosed booklet features historic group and label photographs and extensive notes by gospel music researcher and writer Alan Young Though he racked up a number of singles on the R&B charts, he never had a huge crossover hit, but his music stands as some of the most effervescent, infectious soul of the '60s (not to mention that his vocal style was a clear inspiration to Mick Jagger).

What makes his music so remarkable is how it's earthy Southern soul, kicking really hard in its rhythms and with plenty of growls in Copay's voice, but is as nimble, tuneful, and sunny as the sounds coming out of Chicago and Detroit during the mid-'60s. KC provided the Razor & Tie compilation, mentioned in the above review, and some biog details in a previous post.

3:22 A5 Natural Wig 3:15 B1 Mud In Your Ear 2:50 B2 Excuse Me Baby 2:04 B3 Sad Day Uptown 4:09 B4 Top Of The Bungalow 4:09 B5 Long Distance Call 3:51 Given the level of the players this is totally worthwhile stuff, but the packaging represents the automatic sales cache' of Waters in the early 70s rather than the actual content of the album.

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