Isaac Hayes Juicy Fruit (Disco Freak) Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Isaac Hayes Juicy Fruit (Disco Freak) Mp3, Flac, Wma Isaac Hayes Juicy Fruit (Disco Freak) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Juicy Fruit (Disco Freak) Country: Venezuela Released: 1977 Style: Disco, Soul MP3 version RAR size: 1437 mb FLAC version RAR size: 1813 mb WMA version RAR size: 1128 mb Rating: 4.3 Votes: 705 Other Formats: MOD APE AAC APE VOX DMF AA Tracklist A1 Juicy Fruit (Disco Freak) 6:17 A2 Let's Don't Ever Blow Our Thing 6:04 A3 The Storm Is Over 4:41 B1 Music To Make Love By 6:23 B2 Thank You Love 4:45 B3 Lady Of The Night 4:04 B4 Love Me Or Lose Me 5:31 Companies, etc. Manufactured By – El Disco De Moda C.A. Credits Alto Saxophone – Emerson Able Arranged By – Lester Snell Arranged By [Female Vocal Background] – Pat Lewis Art Direction – Tom Wilkes Backing Vocals – Beauty & The Gorillas (tracks: A1), Masqueraders* (tracks: B1) Backing Vocals [Female] – Hot Buttered Soul Unlimited* Baritone Saxophone – Floyd Newman Bass – Derek Galbreith* (tracks: A2, B3), Erroll Thomas* Congas – Jimmy Thompson* Design [Album Design] – Earl Klasky Drums – Willie Hall Engineer [Mastering] – Lanky Linstrot Engineer [Technical] – Tom King Engineer, Engineer [Remix] – Henry Bush, Roosevelt Green English Horn – Nick Vergos (tracks: B3) French Horn – Bryant Munch, Richard Dolph Guitar – Anthony Shinault, Charles Pitts*, Kim Palumu (tracks: A1, A2, B3), Michael Toles Keyboards – Lester Snell, Sidney Kirk Percussion – Jazzmo, Willie Cole Photography By – Jim McCrary Producer, Arranged By, Written-By, Engineer [Remix], Keyboards, Composed By – Isaac Hayes Saxophone, Soloist – Bill Easley (tracks: A3) Tenor Saxophone – Darnell Smith, Tommy Williams Trombone – Gary Russell, Jackie Thomas, Ken Spain Trumpet – Ben Cauley, William Taylor Trumpet, Flugelhorn – Edgar Matthews Other versions Category Artist Title (Format) Label Category Country Year Isaac Juicy Fruit (Disco HBS, ABC ABCD-953 ABCD-953 US 1976 Hayes Freak) (LP, Album, Gat) Records Isaac Juicy Fruit (Disco HBS, ABC ABCL-5185 ABCL-5185 UK 1976 Hayes Freak) (LP, Album) Records 27756 XOT, Isaac Juicy Fruit (Disco HBS, ABC 27756 XOT, Germany 1976 ABCD 953 Hayes Freak) (LP, Album, Gat) Records ABCD 953 Isaac Juicy Fruit (Disco HBS, ABC ABCD-953 ABCD-953 US 1976 Hayes Freak) (LP, Album, Gat) Records Isaac Juicy Fruit (Disco LP-0116 ABC Records LP-0116 Spain 1976 Hayes Freak) (LP, Album, Gat) Related Music albums to Juicy Fruit (Disco Freak) by Isaac Hayes Franco Crescenzo' Project Micresound - Mora / Love, Hurt And Fire Isaac Hayes - For The Sake Of Love Isaac Hayes - Live At The Sahara Tahoe Isaac Hayes - Groove-A-Thon Oran 'Juice' Jones Featuring Stu Large - Player's Call Isaac Hayes - Lifetime Thing Isaac Hayes - Joy Kraak & Smaak - Juicy Fruit Isaac Hayes Movement - Disco Connection Isaac Hayes - Chocolate Chip.
Recommended publications
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 110 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 110 CONGRESS, FIRST SESSION Vol. 153 WASHINGTON, MONDAY, JUNE 18, 2007 No. 98 House of Representatives The House met at 12:30 p.m. and was mismanagement, corruption, and a per- In this program, people receive an called to order by the Speaker pro tem- petual dependence upon foreign aid and overnight transfer from an American pore (Ms. HIRONO). remittances. Mexico must make tough bank account to a Mexican one. The f decisions and get its economy in shape. two central banks act as middlemen, Until then, Madam Speaker, we will taking a cut of about 67 cents no mat- DESIGNATION OF SPEAKER PRO continue to face massive immigration ter what the size of the transaction. TEMPORE from the south. According to Elizabeth McQuerry of The SPEAKER pro tempore laid be- While we are painfully aware of the the Federal Reserve, banks then typi- fore the House the following commu- problems illegal immigration is caus- cally charge $2.50 to $5 to transfer ing our society, consider what it is nication from the Speaker: about $350. In total, this new program doing to Mexico in the long run. The WASHINGTON, DC, cuts the costs of remittances by at June 18, 2007. massive immigration is draining many least half. In America, 200 banks are I hereby appoint the Honorable MAZIE K. villages across Mexico of their impor- now signed up for this service com- HIRONO to act as Speaker pro tempore on tant labor pool.
    [Show full text]
  • Discourse on Disco
    Chapter 1: Introduction to the cultural context of electronic dance music The rhythmic structures of dance music arise primarily from the genre’s focus on moving dancers, but they reveal other influences as well. The poumtchak pattern has strong associations with both disco music and various genres of electronic dance music, and these associations affect the pattern’s presence in popular music in general. Its status and musical role there has varied according to the reputation of these genres. In the following introduction I will not present a complete history of related contributors, places, or events but rather examine those developments that shaped prevailing opinions and fields of tension within electronic dance music culture in particular. This culture in turn affects the choices that must be made in dance music production, for example involving the poumtchak pattern. My historical overview extends from the 1970s to the 1990s and covers predominantly the disco era, the Chicago house scene, the acid house/rave era, and the post-rave club-oriented house scene in England.5 The disco era of the 1970s DISCOURSE ON DISCO The image of John Travolta in his disco suit from the 1977 motion picture Saturday Night Fever has become an icon of the disco era and its popularity. Like Blackboard Jungle and Rock Around the Clock two decades earlier, this movie was an important vehicle for the distribution of a new dance music culture to America and the entire Western world, and the impact of its construction of disco was gigantic.6 It became a model for local disco cultures around the world and comprised the core of a common understanding of disco in mainstream popular music culture.
    [Show full text]
  • Petrella Pollefeyt
    ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notesNO. 19 / 2014-2015 Petrella Pollefeyt: First Lady of Country Soul aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for In drafting this column for the first sang with the aesthetic beauty and the purpose of research and time as Director of the AAAMC, I feel spiritual grace fitting for such an iconic study of African American compelled to acknowledge the legacy figure. From Grammy-award winning music and culture. of Portia Maultsby, whose vision in Dr. Bobby Jones of Sunday morning www.indiana.edu/~aaamc 1991 led to its founding. Initially BET Gospel fame to GospoCentric supported by a Ford Foundation grant, founder, Vicki Mack Lataillade, the the Archives represented Dr. Maultsby’s tributes extolled Hobbs’ commanding desire to identify and gather the many leadership in the world of gospel music. Table of Contents print, audio and visual resources The public face of the Archives which document the richness of this year was most strongly evident From the Desk of the Director .....................2 African American music in shaping in our Themester event, Hot Buttered and defining the American musical Soul: The Role of Foodways and Music In the Vault: landscape. It is a history most worthy Making in Building and Sustaining Recent Donations .................3 of preservation, and following the African American Communities, which path forged by Dr. Maultsby is both an attracted an extremely responsive One on One: Interview honor and a challenge. We welcome her audience of almost 150 students, faculty, with Petrella Pollefeyt ...........4 continued involvement in identifying staff, and community members.
    [Show full text]
  • 'Hot Buttered Soul' and Me
    Cover Story ‘Hot Buttered Soul’ and Me DCCCD professor remembers Isaac Hayes By Jacquinette D. Murphy was playing with a band and nobody was six-year quest for stardom. A second sur- that his head was bumpy although he was orth Dallas Gazette talking to him, so I began to strike up a prise came when Hayes asked her to join bald. “He was keeping his head shaved, conversation with him.” She had no idea him for a Chicago performance at the but it had bumps all on it,” began Elder- “Hot Buttered Soul”, “Black Moses”, that this conversation would blossom into McCormick Place. Jones. “He was just going to a local “Shaft” and “Chef” are all reminiscent of a unique friendship that would continue “I saw how the audience went wild shop. I said that you are too big to be the decades of success of the ‘cool of for more than four decades. over him and I was awed by that. He had going to a regular barber shop, you need soul’ - the late legendary music icon - “It was 1963 when I became friends to do several encores, but when he final- to hire your own barber.” Hayes instant- Isaac Hayes. He is credited with shaping with him. He did not have a lot, but he ly came down, I said, 'Oh my God, ly agreed “saying Dee your right, you the Memphis music sound in the 1960. was intellectual. He told me that if he Bubba, you are all of that!” she recalled, can come to my studio and do my hair”.
    [Show full text]
  • Singles 1970 to 1983
    AUSTRALIAN RECORD LABELS PHILIPS–PHONOGRAM 7”, EP’s and 12” singles 1970 to 1983 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 PHILIPS-PHONOGRAM, 1970-83 2001 POLYDOR, ROCKY ROAD, JET 2001 007 SYMPATHY / MOONSHINE MARY STEVE ROWLAND & FAMILY DOGG 5.70 2001 072 SPILL THE WINE / MAGIC MOUNTAIN ERIC BURDON & WAR 8.70 2001 073 BACK HOME / THIS IS THE TIME OF THE YEAR GOLDEN EARRING 10.70 2001 096 AFTER MIDNIGHT / EASY NOW ERIC CLAPTON 10.70 2001 112 CAROLINA IN MY MIND / IF I LIVE CRYSTAL MANSION 11.70 2001 120 MAMA / A MOTHER’S TEARS HEINTJE 3.71 2001 122 HEAVY MAKES YOU HAPPY / GIVE ‘EM A HAND BOBBY BLOOM 1.71 2001 127 I DIG EVERYTHING ABOUT YOU / LOVE HAS GOT A HOLD ON ME THE MOB 1.71 2001 134 HOUSE OF THE KING / BLACK BEAUTY FOCUS 3.71 2001 135 HOLY, HOLY LIFE / JESSICA GOLDEN EARING 4.71 2001 140 MAKE ME HAPPY / THIS THING I’VE GOTTEN INTO BOBBY BLOOM 4.71 2001 163 SOUL POWER (PT.1) / (PTS.2 & 3) JAMES BROWN 4.71 2001 164 MIXED UP GUY / LOVED YOU DARLIN’ FROM THE VERY START JOEY SCARBURY 3.71 2001 172 LAYLA / I AM YOURS DEREK AND THE DOMINOS 7.72 2001 203 HOT PANTS (PT.1) / (PT.2) JAMES BROWN 10.71 2001 206 MONEY / GIVE IT TO ME THE MOB 7.71 2001 215 BLOSSOM LADY / IS THIS A DREAM SHOCKING BLUE 10.71 2001 223 MAKE IT FUNKY (PART 1) / (PART 2) JAMES BROWN 11.71 2001 233 I’VE GOT YOU ON MY MIND / GIVE ME YOUR LOVE CAROLYN DAYE LTD.
    [Show full text]
  • Transforming Southern Soul: an Examination of Stax Fax and Stax
    Transforming Southern Soul: An Examination of Stax Fax and Stax Records During the Late 1960s Chandler Vaught Rhodes Institute for Regional Studies 2017 Vaught 2 Special Thanks to Al Bell Deanie Parker Jeff Kollath Jennifer Campbell And Dr. Charles Hughes Vaught 3 In the early 1960s Deanie Parker moved from Ironton, Ohio to Memphis, Tennessee in order to finish high school and be with her mother, who was living in the city at the time. She attended Hamilton High School, where future star Carla Thomas would also graduate from, and became the lead female vocalist for a student band.1 Encouraged by the school’s glee club instructor, the group took part in a Beale Street music competition for which the first place prize was an opportunity to audition for Stax Records. “And we won that prize,” Parker recalls, “So that was how I managed to get into Stax Records and to learn what it was they did in that old Capitol Theater that had been converted into a recording company. Which was behind Satellite Record Shop on McLemore at College.”2 Though Deanie would not go on to become a hit musician, she would become an integral part of Stax Records. In 1965 Jim Stewart, the president of Stax, hired Deanie as the company’s first publicist. The ultimate goal of her job was to package and advertise the product (the songs and artists of Stax) to both the DJs who played their music and the general public as a whole.3 In the fall of 1968 a new marketing tool was developed that would aid her in this endeavor, Stax’s very own magazine called Stax Fax.
    [Show full text]
  • HAYES by ROB BOWMAN
    i S f ? PERFORMERS HAYES By ROB BOWMAN IN THE PAST FIFTY YEARS, THERE HAVE BEEN A HAND- Hayes’s story is one of epic proportions. Begin­ ful of seminal, innovative albums that truly changed ning in 1969, with the release of Hot Buttered Soul, the course of popular-music history. LPs such as he became the biggest artist Stax Records ever pro­ Miles Davis’s Kind of Blue, James Brown’s Live at the duced and one of the most important artists in the Apollo, the Beatles’ Sgt. Pepper’s Lonely Hearts Club history of rhythm & blues. In the first few years of Band and the Sex Pistols’ Never Mind the Bollocks the 1970s, he single-handedly redefined the sonic opened new doors, created new possibilities and possibilities for black music, in the process opening suggested new directions to other musicians, record up the album market as a commercially viable me­ company personnel and fans alike. Each of these al­ dium for black artists. Earlier, Hayes, alongside bums, in its own way, defined a moment in time, cap­ partner David Porter, had helped shape the sound tured the Zeitgeist of an era and helped create a mu­ of soul music in the 1960s with such definitive com­ sical subgenre in the process. To have created one positions as “Hold On! I’m a Cornin’,” “Soul Man,” such album over the course of a career “When Something Is Wrong With My Isaac Hayes: (Opposite) is a heady accomplishment. To have Baby,” “B-A-B-Y,” “I T hank You” and In 1972, in Shaft mode, and “Wrap It Up.” The fact that one artist done it twice, as Isaac Hayes did with (above) as Black Moses, Hot Buttered Soul and Shaft, puts one in the title of one of three could be responsible for such disparate extremely rarefied company indeed.
    [Show full text]
  • Song Title Artist Genre
    Song Title Artist Genre - General The A Team Ed Sheeran Pop A-Punk Vampire Weekend Rock A-Team TV Theme Songs Oldies A-YO Lady Gaga Pop A.D.I./Horror of it All Anthrax Hard Rock & Metal A** Back Home (feat. Neon Hitch) (Clean)Gym Class Heroes Rock Abba Megamix Abba Pop ABC Jackson 5 Oldies ABC (Extended Club Mix) Jackson 5 Pop Abigail King Diamond Hard Rock & Metal Abilene Bobby Bare Slow Country Abilene George Hamilton Iv Oldies About A Girl The Academy Is... Punk Rock About A Girl Nirvana Classic Rock About the Romance Inner Circle Reggae About Us Brooke Hogan & Paul Wall Hip Hop/Rap About You Zoe Girl Christian Above All Michael W. Smith Christian Above the Clouds Amber Techno Above the Clouds Lifescapes Classical Abracadabra Steve Miller Band Classic Rock Abracadabra Sugar Ray Rock Abraham, Martin, And John Dion Oldies Abrazame Luis Miguel Latin Abriendo Puertas Gloria Estefan Latin Absolutely ( Story Of A Girl ) Nine Days Rock AC-DC Hokey Pokey Jim Bruer Clip Academy Flight Song The Transplants Rock Acapulco Nights G.B. Leighton Rock Accident's Will Happen Elvis Costello Classic Rock Accidentally In Love Counting Crows Rock Accidents Will Happen Elvis Costello Classic Rock Accordian Man Waltz Frankie Yankovic Polka Accordian Polka Lawrence Welk Polka According To You Orianthi Rock Ace of spades Motorhead Classic Rock Aces High Iron Maiden Classic Rock Achy Breaky Heart Billy Ray Cyrus Country Acid Bill Hicks Clip Acid trip Rob Zombie Hard Rock & Metal Across The Nation Union Underground Hard Rock & Metal Across The Universe Beatles
    [Show full text]
  • DISCO AS OPERATING SYSTEM, PART ONE Tan Lin
    DISCO AS OPERATING SYSTEM, PART ONE Tan Lin When exactly did the era of the medium dissolve? Like most cultural phe- nomena, the dissolution of the medium and its attendant auras—painting, fi lm, music, photography, the novel—is hard to pinpoint. So it’s useful to turn from the PowerPoint lectures of art history, with their virtual-poetic implications, and look for sensory clues on the dance fl oor of the seventies, regarded as an operating system with a mirror ball, two turntables, Quaaludes, and a mixing board. The ad-hoc setup known as “seventies dance culture” or the “Disco Era”—beginning roughly in 1973 and ending in 1979—ushered in a post-medium era for the masses. In disco’s particular case, it led to a host of media formats and musics in the eighties and beyond: house, ambient, electronica, hip-hop, snap, trip-hop, dub, crunk, garage, hyphy, and techno. These mutations suggest how varied and unspecifi c dis- co as a genre became and how complicated its evolution and mainstreaming ultimately was. But then genre or medium was never the right way to think about disco. Asking what disco is is no less diffi cult than asking, What is music? But the question might be better rendered as, What sounds like music in an age of the dissolving medium? And one of the answers to this is “disco,” or, to use a more ambient search parameter, “the disco sound.” The post-medium era had numerous precursors both visual and aural.1 In his notes to the 1914 Box, Marcel Duchamp proposed bypassing the outmoded channel of retinal processing by making a “painting of frequency,”2 a project followed up by Duchamp’s program for “large sculptures in which the listener would be at the center.
    [Show full text]
  • Claudettes Deliver Holiday Cheer by P.J
    NATIONAL FOOTBALL CONFERENCE EAST NORTH Call (906) 932-4449 DAYAYSS ‘TIL CHRISTMAS Packers win Ironwood, MI 15 Green Bay beats Atlanta Redsautosales.com M-Sat. 10:30am-8pm, Sun. 10:30am-4pm 34-20 SPORTS • 9 DAILY GLOBE Monday, December 10, 2018 Partly cloudy yourdailyglobe.com | High: 28 | Low: 15 | Details, page 2 OH, WHAT FUN! Claudettes deliver holiday cheer By P.J. GLISSON [email protected] IRONWOOD – Excited patrons of the Historic Iron- wood Theatre packed the house for Saturday night’s annual Claudette Christmas show, during which they were clapping and cheering even before the acts began. Even musical director George Ackerman-Behr, who offered a pre-show warm-up by playing organ tunes such as “Winter Wonderland,” received cries of “We love you!” The Claudettes began the show by applying their jazzy dance skills to pop Christmas tunes, which eventually allowed for Santa Claus to run down one of the theatre SOUTH aisles, shouting “Ho, Ho, Ho!” before joining the ladies WEST onstage. Throughout the evening, the ladies also performed sev- eral other numbers, including a reindeer dance and glitzy routines set to fun holiday tunes, including “The 12 Days of Christmas.” The audience could not have loved them more. Overall, the evening pro- vided an extravaganza of tal- ent, with dancers, singers and musicians of all ages perform- ing anything from Christmas pop to Christian classics. A special treat came in the P.J. Glisson/Daily Globe way of Miles Mykkanen, an AS THE stars of Saturday night’s “Oh What Fun!” show at the Historic Ironwood Theatre, the Claudettes show their predictable style.
    [Show full text]
  • Jazz Album Blogspot Download Jazz Album Blogspot Download
    jazz album blogspot download Jazz album blogspot download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66b3a28e6c16163a • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Listen Jazz Easily : Download Jazz Album on Blogspot. We apologize for this inconvenience. Plz Visit To Get The Update. Thx! PS: Jazz is Free. Putumayo Presents French Cafe. 01 Paris Combo - Fibre De Verre 02 Serge Gainsbourg - Marilou Sous La Neige 03 Barbara - Si La Photo Est Bonne 04 Enzo Enzo - Juste Quelqu'un De Bien 05 Georges Brassens - Je M'suis Fait Tout Petit 06 Jane Birkin - Elaeudanla Tιitιia 07 Coralie Clιment - La Mer Opale 08 Mathieu Boogaerts - Ondulι 09 Brigitte Bardot - Un Jour Comme Un Autre 10 Paris Combo - On N'a Pas Besoin 11 Sanseverino - Mal T Mains 12 Baguette Quartette - En Douce 13 Polo - La Fιe Clochette. Django Reinhardt - Plays Solo. 01. Improvisation N°1 (2:59) 02. Parfum (3:02) 03.
    [Show full text]
  • Jackson Page 1 of 24 Wayne Jackson, Zach Harpole, Joshua Kape, Amy
    Jackson Page 1 of 24 Wayne Jackson, Zach Harpole, Joshua Kape, Amy There are two places in "Jackson" where the audio repeats itself for a few minutes, once in the middle and once towards the end. [0:00:00] Wayne Jackson: Hello. Check in. Check in. Check in. Joshua Kape: Recording? Okay. Wayne Jackson: I’m on. Joshua Kape: All right. Mr. Jackson, it’s an honor to be here to interview you. Wayne Jackson: Thank you. Joshua Kape: Of course, it’s for our Crossroads to Freedom digital archive. And the interview today will be posted on the archive, on the website. Wayne Jackson: Good. Zach Harpole: I’m Zach Harpole; I’m a senior at Rhodes College. Joshua Kape: And Joshua Kape, a sophomore at Rhodes College. Wayne Jackson: Zach, Josh. Zach Harpole: All right, just to start off today, just tell us a bit about like where you were born and your childhood growing up. Wayne Jackson: Well, I was born in Memphis Hospital here in Memphis in 1941. And we moved directly after that to West Memphis, where my mother and father lived. She was a secretary for a real estate company and dad sold insurance. And that’s where I was raised, in that environment. A small town. And we lived on a hill high at the - we lived on a- [0:01:00] -you want me to speak up or are we okay? We lived on a hill and it was the highest hill in West Memphis. We never got – everybody else got flooded; we didn’t get flooded.
    [Show full text]