Missionaria Protectiva

SKYY  Skyy Line  (Salsoul/RCA,1981) - Post disco        Skyy Line  is the band's fourth album, and on "Let's Celebrate" they hit the perfect groove, though whilst there are other highspots, much of the rest is enjoyable but unexceptional funk, or attractive but forgettable ballads. And of course Randy Muller's not too proud to slip in a deft Chic imitation at the end. TRACKLIST : Let's Celebrate                    Call Me                    Girl In Blue                    Jam The Box                    When You Touch Me                    Gonna Get It On                    Get Into The Beat https://www.sendspace.com/file/xd0pg4

  RICK JAMES  Fire It Up  (Gordy,1979) - Funk       After the disjointed and raggedy  Bustin’ Out of L Seven , Rick James ditched co-producer Al Stewart and handled all the production work on  Fire It Up  himself.       The album didn’t sell as well as  Bustin’ Out , but it sure as hell sounded a lot better, so I’may say Rick made the right call. Everything was streamlined and the first pangs of what James termed “punk funk” can be heard.        There’s a laid back vaguely island breezy groove supplemented by some sexy sax. And a Rick James song  finally  manages to have a good guitar solo. Importantly, James keeps his voice totally under control. He ain’t trying to reach notes his voice can’t handle. Also, the background singers are totally adult. None of that helium-voiced nonsense. This is grown folks music, so make sure everybody sounds grown. TRACKLIST : Fire It Up       ...

  TEDDY PENDERGRASS  Teddy Pendergrass  (PIR,1977) - Soul       It was only a matter of time before Teddy Pendergrass would leave Harold Melvin & the Bluenotes, the group he’d made his name in. As their lead singer, he had delighted with his gospel-influenced vocals on hits such as If You Don’t Know Me By Now and the uplifting Wake Up Everybody. In 1977, he finally went solo.      His self-titled debut album captures some of his greatest performances. Backed by PIR’s house band, MFSB, it is an underrated example of orchestrated soul. I Don’t Love You Anymore is a huge, upbeat anthem about, well, divorce. Pendergrass will sort out the financial side of things, and then scarper: “But we can’t live together, this way will be much better”.  The More I Get, The More I Want is a frantic floor-filler, and its breakdown, focusing on the bass, is one of the most inspirational in 70s soul. TRACKLIST : You Can't Hide From Yourself    ...

  GIL SCOTT-HERON  Pieces Of A Man  (Flying Dutchman,1971) - Jazz funk, Soul       The militant godfather of spoken word, Gill Scott-Heron was a poet, musician and author.       He grew up in Chicago but soon moved to New York. Following the publication of his first book The Vulture in 1970 he embarked on what would be a prolific recording career. His second album Pieces of a Man from 1971 featured some of his most recognisable works in The Revolution Will Not Be Televised and Home Is Where The Hatred Is. The album is a great example of his lyrical prowess and perfectly showcases the depths of his vocal talent. TRACKLIST : The Revolution Will Not Be Televised                        Save The Children                        Lady Day And John Coltrane                       ...

  BOZ SCAGGS  Down Two Then Left  (Columbia,1977) - Pop,Rock,Soul       Boz Scaggs was originally a guitarist with the Steve Miller Band, who left in 1969 to launch a solo career that peaked in the mid-1970's with a couple of hit singles, "Lido Shuffle" and "Hollywood" (the latter included on this album).       The album was produced by Joe Wissert, who also produced  Silk Degrees  in a similar mold, with the musicians creating an 'atmosphere' for Scaggs - there's no impression of a 'band' in the usual sense, a move that can be traced to the Johnny Bristol produced  Slow Dancer . And like  Silk Degrees , the songs here ease their way into your awareness, it's an insidious process. TRACKLIST: Still Falling From You                   Hard Times                   A Clue                   What...

        Serving the needs of Rammstein’s music, Riedel is a playful player who mixes up open notes, root notes, chord progressions and, sometimes just matches the guitar riff, while offering the occasional fill. Sure, they’re all pretty standard expectations of a bassist, but Riedel keeps Rammstein from being too rigid and mechanical, which is critical to their worldwide success. RAMMSTEIN Live In Berlin Motor/Mercury,1999 CD 1.....https://www.sendspace.com/file/mbk6ne CD 2.....https://www.sendspace.com/file/44vg75