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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!

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Showing posts with label Bobby Foster. Show all posts
Showing posts with label Bobby Foster. Show all posts

Thursday, February 28, 2013

Where Do You Go - Bobby Foster

Bobby Foster’s first records were cut under the direction of Ike Turner when he was based in St Louis in the late 50s for Bill and eponymous Stevens label. Although Turner’s time with them is perhaps most famous for his “Icky Renrut” disguise he produced product on several other artist of whom I’d say Bobby Foster was the most talented singer. In my view his high tenor voice and thrilling falsetto were hear to best effect on the slow doo-wop ballad “Angel Of Love” although the rock n roll freaks go for the rockabilly styled “Star Of Love” for Turner’s unmistakeable wild “Slash and burn” guitar solo. I would place Foster’s superb - and rare - Rahall 45 as his next release after the Stevens sessions. “True Love” is a strong upbeat number on which he sounds like Ted Taylor thanks to his concentration on his falsetto range, but the flip is the one to go for. ListenSoothe Me Baby has nothing to do with The Sims Twins but is a classically formed deep soul number, complete with a screaming vocal, good horn support and an arpeggio guitar. Love the way it ebbs and flows. Soothe me baby - RAHALL 1000By the mid 60s Foster was in Memphis cutting at Sam Phillips studio. Both the Souncot and Select-O-Hit 45s come from these sessions. Foster is relatively restrained here, concentrating mostly on his tenor range, but still capable of generating considerable emotional effects with a more sparing use of his stratospheric falsetto. All four cuts are fine southern soul, with ListenThis Time I’m Really Leaving, a really nice country soul slowie my personal choice. Foster’s final sessions were again held in Memphis and the results leased out to John R. The dancers have a fondness for the thumping “If You Really Need A Friend” but my taste is much more towards the better melody of ListenBuilding Up (For A Let Down), another fine piece of country soul. Foster’s gentle, rather breathy delivery was very suited to this sort of material.

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