minnie ripperton come to my garden album download Minnie ripperton come to my garden album 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: 66a1b986ed200d3e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Minnie ripperton come to my garden album 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: 66a1b98728ac7903 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Come to My Garden. Minnie Riperton's solo debut is in many respects her finest hour -- devoid of the overly syrupy production that hampers her later work, Come to My Garden instead couches her miraculous voice in the elegant arrangements of the great Charles Stepney, striking a perfect balance between romantic melodrama and sensual nuance. Call Stepney's singular approach "chamber soul"--the nimble melodies and insistent grooves swell with orchestral flourishes, while the jazz-inspired rhythms (courtesy of Ramsey Lewis' group) at times evoke Van Morrison's masterpiece Astral Weeks. Stepney creates the ideal backdrop for Riperton's soaring vocals, which reveal a subtlety and restraint absent from the glass-shattering bombast of her subsequent performances -- the opening "Les Fleurs" (covered decades later by 4Hero) crystallizes the entire record, embracing both intimacy and majesty to haunting effect. Come To My Garden. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $12.99. Minnie Riperton's solo debut is in many respects her finest hour -- devoid of the overly syrupy production that hampers her later work, Come to My Garden instead couches her miraculous voice in the elegant arrangements of the great Charles Stepney, striking a perfect balance between romantic melodrama and sensual nuance. Call Stepney's singular approach "chamber soul"--the nimble melodies and insistent grooves swell with orchestral flourishes, while the jazz-inspired rhythms (courtesy of Ramsey Lewis' group) at times evoke Van Morrison's masterpiece Astral Weeks. Stepney creates the ideal backdrop for Riperton's soaring vocals, which reveal a subtlety and restraint absent from the glass-shattering bombast of her subsequent performances -- the opening "Les Fleurs" (covered decades later by 4Hero) crystallizes the entire record, embracing both intimacy and majesty to haunting effect. © Jason Ankeny /TiVo. Minnie Riperton – 10 of the best. 1. The Rotary Connection – I Am the Black Gold of the Sun. Gifted with a five-octave vocal range, Chicago-born Minnie Riperton was plucked from an a cappella choir to sing with girl-group the Gems, who found little success under their own name but scored work as session backing-vocalists for the Dells, Etta James and Fontella Bass. Her first real break came, however, when Marshall Chess – son of Leonard, founder of legendary blues label Chess Recordings – assembled the Rotary Connection in 1967. They were a multi-racial collective who played baroque soul, out-there funk and billowing, symphonic psychedelia, and specialised in radical reworkings of then-popular hits. In truth, the Connection were often better in concept than practice, and much of their material sounds today like relics from the age of Aquarius, though their takes on the Rolling Stones’ Lady Jane and Aretha’s Respect are impressive, while their own Memory Band, a dippy showcase for Minnie, gave the world the sitar lick that runs through Bonita Applebum. Their finest track, I Am the Black Gold of the Sun, was an ambitious work of afro-mysticism off their final album, 1971’s Hey, Love. While Riperton played second-fiddle to singer Dave Scott, her otherworldly backing vocals lend this epic slow-build of a track an magic that still thrills today. 2. Les Fleurs. Riperton was just one voice among many within the Rotary Connection, but Charles Stepney – the producer/arranger who’d helped Chess assemble the group, and would later produce platinum albums for Earth, Wind & Fire before dying of a heart attack in 1976 – recognised her potential. Aided by songwriter Richard Rudolph – who’d co-written Black Gold and was Riperton’s lover (and, later, husband) – Stepney wrote, produced and arranged Riperton’s solo debut Come to My Garden, a magnificent set that cut away the self-indulgence that marred much of the Connection’s work, but preserved that group’s effervescent psychedelic sensibility, and billowing, orchestral magnificence. Opening track Les Fleurs found Riperton imagining herself a flower budding into bloom, a hippy-dippy metaphor for every soul realising its true potential. Stepney’s production echoed that metaphor, its sparse guitar and drum verse blossoming into wonderfully overblown choruses encompassing swooning strings, blaring horns, artfully arranged choirs and Riperton’s own theremin-rivalling whistle-register scree; the entire track is some winningly over- egged pudding, its absurdity part of its charm. Though it was overlooked on release, drum’n’bass adventurers 4hero’s faithful reworking for their 2001 album Creating Patterns won a belated new audience for the Riperton original. 3. Whenever Wherever. While nothing else on Come to My Garden quite equalled the glorious overload of Les Fleurs, the album’s other nine tracks were of a dulcet, diaphanous piece: Completeness’s stirring ode to perfect love (“Rapture, loving, needing, pleasing, sharing, caring”); the angelic Memory Band, a fairytale set to bossa nova pulse; Close Your Eyes and Remember’s aching nostalgia for a time “when the moon was made of cheese”. Best of them was this closing track, which hit the finest balance between Riperton’s Dionne Warwick/Burt Bacharach ambitions, and Stepney’s own grandiose vision. The verses set Riperton’s overwhelmed sighs to soaring strings (“Your touch is all that I need,” she croons, lost in romance); the choruses, meanwhile, were baroque staccato fusillades set to proggy time signatures a quantum physicist couldn’t untangle. Together, their unlikely combination made for a delicious confection, teetering gracefully like a gargantuan, multi-tiered wedding cake. 4. Perfect Angel. Come to My Garden stiffed on release, so Riperton made a retreat to backing-singer status, moving to Los Angeles to join Wonderlove, who accompanied Stevie Wonder as he took the synth-driven symphonies of his 70s purple patch out on the road. Wonder soon recognised the singular talent within his ranks, and went on to produce her second solo album Perfect Angel in 1974 (under the pseudonym El Toro Negro, and accompanied by his studio collaborators Malcolm Cecil and Robert Margouleff); he also contributed two songs: the psychedelic slow-burn of Take a Little Trip, and this sun-dappled title track. Wonder’s discography was studded with ebullient paeans to the perfect love, a subject close to Riperton’s own heart, and Perfect Angel was another such triumph; the unforced and infectious joy of Riperton’s acclamations, in concert with the track’s jazzy playfulness, ensured her Perfect Angel was giddy and charming, rather than saccharine or soppy. 5. Lovin’ You. The album’s breakthrough track happened almost by accident, its genesis lying in a melody Riperton would sing as a lullaby to her baby daughter. For its smartly spare production, Wonder added some dizzy electric piano and a cradle of gentle acoustic guitar, but mostly ceded the foreground to Riperton’s remarkable vocal, which swung effortlessly through the five octaves at her disposal, no mere exercise in showing off her impressive range, but the sound of Riperton luxuriating in joy. It was an era when female soul singers were often given to aural excitation, from Donna Summer’s Love to Love You Baby to Diana Ross’s Love Hangover, but it is notable that – one clunky moment of suggestiveness aside (“Every time that we … ooh!”, coos Riperton, with all of the eroticism of a Benny Hill skit) – Minnie’s delirious devotionals here seemed less inspired by lust than the deeper emotions awoken by motherhood. You could easily read her words as a message from one lover to another, but as the album version begins its exit fade, Riperton begins to sing “Maya, Maya, Maya, Maya,” just as she used to sing it to a two-year-old Maya Rudolph. 6. Reasons. While much of Perfect Angel mused upon matters of the heart – from the breathy lust of Every Time He Comes Around to the purer maternal devotion of Lovin’ You – Riperton was still enough of a flower child to touch upon matters spiritual, as she did with the album’s opening track. A lush fusion of limber funk and lithe rock, set to a fluidly jazzy shuffle, Reasons was a joyous exercise in existential autobiography, as Riperton seeks to locate the meaning of life among myriad distractions.