Behind the 8 Ball (1965). Behind the 8-Ball was Baby Face Willette's second album for Argo and - unfortunately - the last one he would record as a leader, for reasons that aren't well-documented. Compared to his past releases, Behind the 8-Ball is short on original compositions (only two of eight tracks), but the emphasis here is more on Willette's deep roots in gospel and R&B, two circuits he worked extensively during his pre-Blute Note dues-paying days. This perhaps accounts for the brevity of the album - only two cuts top the five-minute mark - but it also provides a chance to hear Willette at his most soulful, playing the music he grew up with…
Once I'd stopped asking loads of questions like "Why Now?" and "Who did this?" and I'd started listening to the music herein, I knew that this is a 'must have' pairing for anybody remotely interested in the genre of Hammond led organ albums. The first question was asked because it's 43 years since these two albums were recorded, and they've only been available intermitently in various forms in the intervening years,and it takes a Spanish based company to provide the answer to the second. The two albums are presented in the reverse order to which they were recorded with "Mo-Rock" coming from two sessions in March and April 1964 and "Behind the 8 ball" from a single session in November of the same year. ~ Amazon
Excellent Live disc by this great blues/rock band from Holland featuring axeslinger Sjors Nederlof on guitar and the soul-powered vocal mojo of Phil Bee. King Mo rock the blues on the "Live In Holland" disc with a strong Stevie Ray Vaughan @ Texas blues vibe. Includes several extended Hendrix jams complete with a superb encore version of "All Along the Watchtower" featuring Special Guest Guitar Legend Jan Akkerman.
The third in a series of collections of danceable jazz from the late 1950s to the mid-1970s that wasn't afraid to throw in rock, soul, pop, and blues elements (the prior volumes being Mod Jazz and Mo' Mod Jazz). What makes this stand out from other compilations of the sort, not to mention most jazz compilations of any sort, is its sheer irreverence and willingness to mix in tracks that might be considered inappropriate, or downright blasphemous, by purists.