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Lee Dorsey – Ride Your Pony · Get Out Of My Life, Woman (1965–68)

25-04-2014, 14:15
Soul | Funk | FLAC / APE

Lee Dorsey – Ride Your Pony · Get Out Of My Life, Woman (1965–68)

Artist: Lee Dorsey
Title Of Album: Ride Your Pony · Get Out Of My Life Woman
Year Of Release: 2000
Label: Sundazed Music SC 11086
Genre: Soul Funk
Quality: MP3 | FLAC
Bitrate: VBR 0 | 16Bit/44kHz
Total Size: 105 MB | 285 MB
Total Time: 60:04
Website: Discogs

01. Ride Your Pony 02:55
02. The Kitty Cat Song 02:10
03. Shortnin' Bread 02:55
04. So Long 02:35
05. People, I Wish You Could See 02:09
06. Work, Work, Work 02:30
07. Get Out Of My Life, Woman 02:29
08. Here Comes The Hurt Again 02:36
09. Hello Mamma 02:33
10. Can You Hear Me 02:17
11. The Greatest Love 02:22
12. Feelin' 02:05
13. I Cant Get Away 02:18
14. Go-Go Girl 02:26
15. I Can Hear You Callin 02:39
16. My Old Car 02:02
17. Love Lots Of Lovin' (with Betty Harris) 03:02
18. Take Care Of Our Love (with Betty Harris) 03:20
19. Vista, Vista 02:45
20. Cynthia 03:19
21. Wonder Woman 02:43
22. Four Corners - Part I 03:07
23. Four Corners - Part II 03:00

No info, may be The Meters

Review from RateYourMusic:
Lee Dorsey is one of my Top 10 Vocalists, at the top of the list with the likes of Solomon Burke, Joe Strummer, and Sam Cooke. However, Dorsey's vocal delivery is completely unique in the way it's so chilled-out and yet so funky. Heck, he can even make a song like "Shortnin' Bread" sound like a funky power relaxer, and he does exactly that (to the letter) on Ride Your Pony.
Just try to listen to Lee Dorsey while sitting still. It's impossible! The title track, "Ride Your Pony," has me bouncing all over the place, every single time! Even when Allen Toussaint & Co. bring the tempo down, like on "So Long," "Work Work Work," or "The Greatest Love," you'll find yourself swaying or drumming on your lap or tapping your feet to the deep, deep funk.
Lee Dorsey is one of the most colourful personalities of all popular music, a former boxer who was humble enough and down-to-earth enough to return to his job as a mechanic (Dorsey was actually discovered singing while he worked on a car) when he wasn't recording songs with New Orleans legend Allen Toussaint. Lee's wonderful personality is all over every nook and cranny of these songs, from the delightful call-and-response of "People I Wish You Could See" (no one could pull off that kind of song with the grace that Dorsey does) to the relaxed urgency of "Here Comes The Hurt Again" (again, no one but Dorsey could do it).
So Ladies & Gentlemen, this is Lee Dorsey. He's everything I love about music. He's the genuine article. A true unique spirit that redefines cool with real panache. Baby, it's all right!

Biography from Allmusic:
Lee Dorsey epitomized the loose, easygoing charm of New Orleans R&B perhaps more than any other artist of the '60s. Working with legendary Crescent City producer/writer Allen Toussaint, Dorsey typically offered good-time party tunes with a playful sense of humor and a loping, funky backbeat. Even if he's remembered chiefly for the signature hit "Working in a Coalmine," it was a remarkably consistent and winning combination for the vast majority of his recording career.
Dorsey was born in New Orleans on December 24, 1924 (although some sources list 1926), and moved to Portland, OR, at age ten. After serving in the Navy during WWII, Dorsey returned to Portland and became a successful light heavyweight boxer, fighting under the name "Kid Chocolate." He retired from boxing in 1955 and returned to his birthplace, where he eventually opened a successful auto-body shop. He pursued a singing career by night, and wound up recording singles for several different labels, most of which made little noise (although "Lottie Mo" sold respectably). In 1961, he signed with Bobby Robinson's Fury label, where he entered the studio with producer Allen Toussaint for the first time. Dorsey's nonsense ditty "Ya Ya" – reportedly inspired by a children's rhyme – became his first national hit that year, reaching the pop Top Ten and hitting number one on the R&B charts. Despite its popularity, following it up turned out to be difficult, and with a large family to support, Dorsey returned to his auto repair business after a few more singles flopped.
Still, Allen Toussaint loved Dorsey's voice, and kept him in mind for future sessions. Toussaint's hunch paid off in 1965 when, signed to the Amy label, Dorsey turned "Ride Your Pony" into a Top Ten R&B hit. The accompanying album of the same name sold respectably as well, and Dorsey began cutting a multitude of Toussaint compositions, often with the legendary New Orleans funk ensemble the Meters as his studio backing band. The New Lee Dorsey was released later in 1966, and supplied Dorsey's best-known song, the irresistible "Working in a Coalmine" (which he co-wrote with Toussaint). With its clanking sound effects and Dorsey's comic exclamations, "Working in a Coalmine" became his second Top Ten pop hit and signature song, and Dorsey toured internationally with the Meters backing him up. A few follow-ups, particularly "Holy Cow" and "Everything I Do Gonh Be Funky (From Now On)," met with some success, but Dorsey was once again hard pressed to duplicate his big hit, and once again left music for the practical concern of running his business. 1970's Yes We Can (on Polydor) was his last album for some time, with the title track becoming his last chart single.
After guesting on the Southside Johnny & the Asbury Jukes cut "How Come You Treat Me So Bad?," Dorsey attempted a comeback in 1977 with the ABC album Night People, which wasn't a commercial success despite mostly positive reviews. Still, it was enough to land him supporting slots on tours by the likes of James Brown, Jerry Lee Lewis, and even the Clash, whose 1980 tour was his last major concert jaunt. In the meantime, other artists mined his back catalog for covers: "Working in a Coalmine" was redone by robotic new wavers Devo and country duo the Judds; "Ya Ya" by Ike & Tina Turner, John Lennon, and Buckwheat Zydeco; "Everything I Do Gonh Be Funky (From Now On)" by jazzman Lou Donaldson; and "Yes We Can" by the Pointer Sisters (under the new title "Yes We Can Can"). Dorsey continued to perform sporadically, as opportunities presented themselves, until he contracted emphysema; he died in New Orleans on December 1, 1986.

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