DEEP JAZZY HOUSE: Sounds of Blackness – I Believe (David Morales Classic Gospel House Mix)

Sounds of Blackness are a Grammy Award-winning vocal and instrumental collective from Minneapolis who perform music from several gospel inspired SOUL, JAZZ & R&B tracks featuring many collabeations with  Gospel and House legends including liks of Ann Nesby, Jimmy Jam & Terry Lewis.

They celebrated culture and religion while keeping the sounds of their afro ancestery also running right through there albums.

This is a track from the golden era club classics remixed by David Morales.

Studio Albums

  • The Evolution of Gospel (Perspective, 1991)
  • The Night Before Christmas…A Musical Fantasy (Perspective, 1992)
  • Africa To America – The Journey Of The Drum (Perspective, 1994)
  • Time For Healing (Perspective, 1997)
  • Reconciliation (Zinc, 1999)
  • Soul Symphony (Sounds Of Blackness, 2002)
  • The Night Before Christmas II (Atomic K, 2004)
  • Unity (SLR/Lightyear, 2005)
  • Kings & Queens – Message Music From The Movement (P-Vine, 2007)
  • The 3rd Gift – Story, Song & Spirit (CC Entertainment, 2009)


  • Journey Of The Drum Remix Collection (Perspective, 1995)
  • The Very Best Of Sounds Of Blackness (A&M, 2001)
  • The Collection (Spectrum, 2003)
  • The Best Of Sounds Of Blackness – The Millennium Collection (20th Century Masters) (A&M, 2007)

CLASSIC NEW YORK HOUSE: Lil Louis – Club Lonely vs The Conversation (Original Sydney Underground 15 Min Edit)

A quick edit of some classic HOUSE cuts by Lil Louis just for youtube.

Tracks Used:

Lil Louis – Club Lonely (Original Version)
Lil Louis – The Conversation (Original Underground Version)

Get in touch for a download info

International Womens Day Tribute- Aretha Franklin – Respect (1967)

March 4 is Internaianl Womens Day & what better way to pay our musical tribute then with this.. Aretha, belting out R.E.S.P.E.C.T!..

The theme song for the Womens Libeartion & Civil Rights movements throughout the 60’s & 70’s + one a ‘one of he greatest songs of all time’

Forty-four years ago today,

Aretha Franklin belted out a song that set her career afire, gave an anthem to a growing movement and stole some thunder from one of the biggest Soul singers around.

It was on this day in 1967 that Franklin stepped into the recording booth at the Atlantic Records studios in New York City and recorded her cover of Respect.

The song comes from a different angle than the previous hit released by Otis Redding in 1965, but that’s just the tip of the iceberg when looking at the history of this great song.Aretha Franklin

Redding wasn’t even supposed to record the tune. At the time, Otis’ good friend and touring partner, Speedo Simms, was set to put the song onto wax. He co-wrote the song with a group he was in, which planned to record the tune. When the group broke up, he was left with the song. But get this, Respect actually started out as a slowed-down ballad.

Simms went to FAME Studios in Muscle Shoals, Alabama, to record it. With Redding in the studio, Simms tried his best to sing the song. But while Simms was known as a great stage performer, he had never recorded much. … Especially on his own. He folded up and couldn’t perform when the mic was turned on.

Redding then suggested that he should sing the song, with an up-tempo twist. He told Simms they’d be put on the credits as co-writers, but when the single was released on August 15, 1965, Redding was the sole writer listed.

Simms can be heard on Redding’s version, before several choruses, yelling the “Hey, Hey Hey” lines in the background.

Simms never argued with his friend or tried to sue for credit. Two years later, when Redding passed away, he let the matter go to the grave with the great singer.

But just a few months before the plane crash that took Redding’s life, Aretha Franklin recorded her own version of the tune. While Redding’s song was a plea for recognition from his woman, Franklin’s was an amped-up call for respect for herself and all womankind. The song was released in April of ’67 and quickly became the rallying cry for the growing women’s liberation movement and a signature tune in Franklin’s stage shows.

Before performing the song during concerts after Franklin’s release, Redding would often tell the crowd that he was about to sing a song that he once had, but had it stolen from him by a good friend. He truly did. While Redding’s version is a masterpiece, Franklin’s sits upon the mantel of great Soul songs of all time.

Link Here