The Baby Bonus

The Comsat Angels were an English post-punk band from Sheffield, England, initially active from 1978 to 1995. Their music has been described as "abstract pop songs with sparse instrumentation, many of which were bleak and filled with some form of heartache". They have been credited as being an influence on later post-punk revival bands such as Blacklist, Bell Hollow, Editors and Interpol. The Comsat Angels toured heavily in the UK and western Europe, especially in the Netherlands; the band's two concerts in August 1982 in Iceland had a strong influence on the music scene in Reykjavík. They also toured the United States twice. Their music has been extensively reissued and recompiled since 1995 by various record labels.

Baby Huey - The Baby Huey Story: The Living Legend (1971) {2018 2LP Expanded Record Store Day ROGV-051} (Vinyl LP rip 16-48)
FLAC (tracks) - 16bit/48kHz - VINYL LP RIP -> 471 Mb | MP3 @320 -> 162 Mb | Full Artwork | 5% repair rar
© 1971, 2018 Curtom / Run Out Groove | ROGV-051 | Expanded 2LP Deluxe Edition
Psychedelic Soul / Funk / Soul / R&B / Chicago Soul

James Thomas Ramey, better known by his stage name Baby Huey (taken from the Paramount Pictures animated giant cartoon duckling) was born in Richmond, Indiana and moved to Chicago in the early '60s to front his band The Babysitters with co-founders Melvin Deacon Jones on trumpet and Johnny Ross on guitar. By the time they recorded The Living Legend, only Huey and Jones remained (Deacon Jones would go on to play with Freddie King and John Lee Hooker). Because of a glandular disorder, Huey weighed close to 400 pounds at times, contributing to his "larger than life" stage presence, but also to a host of health issues.

Midnight Ride marked just about the pinnacle of Paul Revere & the Raiders' history as a source of great albums. Even more to their credit, most of the music on Midnight Ride was written by the bandmembers themselves, and not just Mark Lindsay and Paul Revere, but Phil Volk, Drake Levin, and Mike Smith getting a shared songwriting credit. The irony is that this was the last album on which that egalitarian spirit was to dominate; alongside the tight, hard, eminently danceable rock & roll sounds that comprise about two-thirds of this album, there are signs of the softer, more introspective balladry that lead singer Mark Lindsay was starting to favor in his songwriting ("Little Girl in the Fourth Row," etc.)…