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I admit I was totally unfamiliar with Lady Tata. This album her second on Motown is another great choice of Trakbuv which proves – once more – why I totally trust him posting anything in this blog.
Brothers of Metal Crew Steelers Strip Mining prevents Forest Fires UMWA. Thinking Outside the Box: A Misguided Idea The truth behind the universal, but flawed, catchphrase for creativity. Posted Feb 06, 2014.
With Motown, Táta released four solo albums on the Tamla label: Full Speed Ahead (1976), Totally Táta (1977), Try My Love (1978), and Givin’ All My Love (1981). These albums feature a diverse range of genres, including classic Motown soul, country or southern soul, disco, jazz, funk, country, Latin, doo-wop, and gospel.
Iron speed designer crack. She has had an active career as a back-up singer, working with Stevie Wonder, Andraé Crouch, Lou Rawls,(Duet) Rare Earth,(Duet) Chaka Kahn, Patti LaBelle, Michael Jackson, Ray Charles, and Madonna. She also worked in film, performing the voice of Shug Avery in The Color Purple; she is featured on four songs on the 1986 soundtrack album, one of which, Miss Celie’s Blues (Sister), was nominated for an Academy Award in the Best Song category.
Thanks Trak for one of the most colourful and playful voices ever heard…. you were absolutely right!
This is a fine @320 vinyl rip of the original Motown LP including covers.
Tracks
A1 Mr. Troublemaker 3.43
A2 Blame It on the Sun 4.26
A3 Come in Heaven Earth Is Calling 9.03
A4 Deep Inside 4.53
B1 Jesus Take Me Higher 5.10
B2 Love Comes from the Most Unexpected Places 3.27
B3 It’s Too Late 3.32
B4 You’ll Never Rock Alone 3.20
B5 Ever So Lovingly 5.34
A1 Mr. Troublemaker 3.43
A2 Blame It on the Sun 4.26
A3 Come in Heaven Earth Is Calling 9.03
A4 Deep Inside 4.53
B1 Jesus Take Me Higher 5.10
B2 Love Comes from the Most Unexpected Places 3.27
B3 It’s Too Late 3.32
B4 You’ll Never Rock Alone 3.20
B5 Ever So Lovingly 5.34
Review by Trakbuv
![Brothers Brothers](https://i2.wp.com/imgarchive.info/200908/138974.jpg)
In honour of Nikos and his wonderful tribute to all things Tamla and Motown, I have resurrected one of my personal forgotten glories from its illustrious catalogue. Tata Vega – a name that rolls off the tongue like Teena Marie or Chaka Khan, but never becoming as household as those luminaries – yet certainly a force to be reckoned alongside them. Christened Carmen Rosa Vega in Queens, Long Island back in 1951, it was dear old dad who gave her the nickname of Tata in remembrance of her first uttered words. Dad also had the knack of uprooting her every now and then due to his commitment to the US Air Force, before finally touching down in Miami when she was in her teens. Moldflow plastic insight 6 1 crack. At seventeen (nice title for a song methinks), she travelled to LA in hope of fame and, after struggling as a street musician for a year, finally hit paydirt as part of the Broadway musical ‘Hair’ (1969-70), alongside Dobie Gray. Dobie then left to form a band, Pollution, and invited Tata to join the entourage. They released a couple of very busy, unfocussed LPs that employed much of the theatrical styling that was ‘Hair’. Neither LP really showed Tata (or Dobie) in their best light. She then joined Earthquire, releasing an LP in 1973 that reminds me a little of the rawness of Rufus’s debut. Tata was definitely finding her comfort zone vocally, if still a little unrestrained.
Her debut ‘Full Speed Ahead’ (1976) finally offered an uncluttered environment to really allow Tata’s now fully developed larynx to excel. The material however was lacklustre, with only a few cuts being memorable, including the gorgeous ‘Just when things are getting good’. However Motown persevered, and her follow-up set was the perfect meat to really capture her awesome piquant flavour. Side One is one of my favourite faces of any LP. It really puts Tata firmly in the spotlight with material that summons her huge variety of vocal techniques and phrasings that still beggar belief. ‘Mr. Troublemaker’ unleashes her extraordinary audacity and assured playfulness over a fabulous funky backdrop, this has to be played over and over again to appreciate just how much LIFE is crammed into it. Unbelievable. This very cleverly leads directly into Stevie’s ‘Blame it on the sun’. I know that many may disagree (Nikos included), but I believe this is far superior to the original, with Tata giving a much more dramatic, pathos-riddled performance. I can’t think of another instance where I can say that about a Stevie song, can you ? And just when you think I cannot get more enthused about Tata, we have the third track, ‘Come in Heaven’. This is the first song I ever heard her sing – and still ranks among the finest songs ever sung. Tata really shames every singer with something from a place that defies earthly ability. Astounding, inspired and captivating, Al Johnson’s vocal incursions just adding to the splendour – the first half boasts a yearning plea that MAKES the Lord cry tears. Then mid-way, she makes the Lord boogie with all his heavenly might – displaying that dynamite dynamism she catapults so freely from within her petite frame. Staggering ingenuity. And finally to round off a perfect 22 minutes, we have the gorgeous, heartwrenching ‘Deep inside’. Utterly spellbinding.
The Brothers Johnson Strawberry Letter
Poor old Side Two – always destined to be the poor relative. Fortunately, there is still plenty for me get excited about in my search for more superlatives ! It begins with ‘Jesus takes me higher’, the weakest track for me. However, the reggae-influenced ‘Love comes from the most unexpected places’ is a lovely change of pace, and the break where she coos ‘I really love you’ is an excerpt that I used to play repeatedly in my teens – it really is that good. Then it’s good ol’ honky-tonk funk in the form of ‘Too late’, a nice tuneful groove with a hint of disco in the string arrangement. Next up is a very capable version of Brian & Brenda Russell’s ‘You’ll never rock alone’, a upbeat felicitous affair. We exit in very mournful mood with ‘Ever so lovingly’ – caked in tragedy and pain. The trouble is that the lyrics speak of the glory of love, which seems so at odds with the music. An anomaly that I still struggle with, but as a record – achingly beautiful.
Louis Johnson
One of the greatest failures of Motown – how this lady did not attain superstardom ranks with how Stevie’s ‘I just called to say I love you’ became such a hit as two of the greatest mysteries of the music industry. Let’s hear some heartfelt commendations of how she reaches ‘deep inside’ you with that charismatic rack of chords. To paraphrase Johnny ‘Guitar’ Watson – “we want to Tata you” !!