LOU RAWLS "TOO MUCH!" (1967)

What can you say of him... this man who sings on the wild, sweet-sad, swingin’ side of soulin’? This man who walks into the blues and rocks the pure emotion of a hurtin’ love for all the world to feel... wearing his talent easily he meets the heart on its own terms, his songs reflecting the one simple truth: Lou Rawls is today’s singin’ man, sayin’ it all, soulin’ it all. Great in the superlative sense of greatness here and now. He’s Lou Rawls and he’s... too much!

Sensational this man is, with three smash-hit albums that speak for themselves. The language is all Lou yet the message comes home to everyone who listens. Like it does here. So your lover loves another... well, baby, "Yes, It Hurts (Doesn’t It?)." (So what if you deserve everything you’ve got... gritty-mood Lou’s got the word, he’s passing it on and somehow it helps.)

Hung up on that "Uphill Climb to the Bottom" you are... groping through a night of blacked-out dreams when your love has gone. (Grab those tomorrows in a shower of day dreams... Lou’s carryin’ on and torching lights up the sky.) You’ve no-where to go on a "Dead End Street" ...Windy City’s the place, Lou’s is the monologue cutting words out of Mr. Wind himself... known as The Hawk his words set the scene for Lou’s Chicago-born lesson: get out of that dead end street and never come back.

Talk about a "Righteous Woman" - Lou’s handsome gospel noodling leads into beautiful statements on a beautiful theme, "I Wanna Little Girl" ...not mod, not groovy, just in love. (Sweet-Lou’s soulin’ romances the melody with smooth rhythm lines saying... she’s mine, all mine.) It’s all cool, confident, calling the tune as only one man can: Lou Rawls, that magic-man who’ll pocket your heart with the soulin’ sound of his song.

[Janice May, from the original back sleeve notes of "Too Much!"]



Lou Rawls was an American soul jazz and rhythm and blues singer with extraordinary artistic longevity and great generosity. His soulful singing career spanned over thirty years, and his philanthropy included helping to raise over 150 million dollars for the United Negro College Fund (UNCF). He released more than 75 albums, selling about 40 million records worldwide, appeared as an actor in films and on television, and voiced-over many cartoons. He had been called "The Funkiest Man Alive" and his friend Frank Sinatra once said that he had "the classiest singing and silkiest chops in the singing game".

Born Louis Allen Rawls on December 1, 1936 in Chicago, son of a Baptist minister and a homekeeper, Lou Rawls was raised on the South Side by his grandmother and was introduced to gospel at age seven in the choir of the Greater Mount Olive Baptist Church.

As a teenager he developed an interest in the jazz-influenced songs of Billy Eckstine and Joe Williams, whose resonant baritone voices were similar to his own voice. He soon joined doo-wop quartets and sang with the West Singers and the Kings of Harmony, he first recorded in June 1950 with The Holy Wonders. After his grandmother died, he moved to Los Angeles in 1953 and joined the Chosen Gospel Singers.



In the mid-1950s Rawls toured with another gospel group, The Pilgrim Travelers, who recorded for Specialty Records. After graduating from Chicago Dunbar Vocational Career Academy he joined the U.S. Army in 1955 as a paratrooper for about three years. When he returned from military service, he started touring again with the group. One rainy night in November 1958 their car collided with a semi-trailer truck: Eddie Cunningham was killed, Cliff White broke his collarbone and Sam Cooke was hardly injured. Rawls laid in a coma for five days before waking and eventually recovering from the severe concussion, it took him about one year to fully recup.

The accident contributed to the dissolution of The Pilgrim Travelers and Rawls embarked on a solo career in 1959. The group were based in Los Angeles, so Rawls decided to stay there after the breakup. A producer from Capitol Records noticed him performing at Pandora's Box coffee shop and the label signed him in 1961. During the same year Rawls recorded anonymously as an uncredited background singer on Sam Cooke's "Bring It On Home To Me", which is considered a classic nowadays.

It took Rawls a while to establish himself as a solo artist, his first recordings were fairly successful. He debuted in 1962 with "Stormy Monday", an album that featured a number of blues and jazz standards chosen by Rawls and backed by the Les McCann Trio.

Lou Rawls, sometimes during the 60s

His 1963 album "Black and Blue", made the pop chart and other four albums followed in just three years ("Tobacco Road", "For You My Love", "Lou Rawls and Strings" and "Nobody But Lou"), but it wasn't until 1966 that he crossed over to major market success with "Lou Rawls Live!". The album was released in April and went to #1 in the Billboard R&B Albums Charts and to #4 in the Billboard Pop Albums Charts. Although it became the first of his several gold albums, Rawls would not have a star-making hit until he made a proper soul album.

The aptly entitled "Soulin'" was released in August 1966, just four months after the success of "Live!". It contained Lou's first R&B #1 single, "Love Is a Hurtin' Thing", which also went up to #13 on the Pop Charts.; with this song he earned his first Grammy Award nomination. Finally, after a few years of struggling, Rawls was reaching white audiences with his smooth baritone.

Produced by David Axelrod, "Carryin' On!" was released during the very last week of 1966, exactly on December 27. Rawls got two mild hits from this album with "Trouble Down Here Below" and "You Can Bring Me All Your Heartaches"; it is also worth mentioning his fine renditions of "On Broadway" and The Beatles' "Yesterday". The production and arrangements were perfectly tailored to his voice, the songs were good, and Rawls sounded confident, assertive, and soulful. "Carryin' On!" went to #2 in the Billboard R&B Albums Charts, to #3 in the Jazz Albums Charts and to #20 in the Pop Albums Charts.

In the midst of Rawls' hot streak at Capitol, "Too Much!" was released on April 17, 1967. It was the first of three albums released during the same year, all of which made the Top 40 in the Pop Albums Charts. The album was superbly produced by David Axelrod and arranged by H. B. Barnum, with Rawls being bluesy, soulful, anguished, triumphant, and resigned. He displayed both a variety of moods and a vocal mastery at its peak. The album features top Jazz and Rhythm'n'Blues musicians like Gerald Wiggins on piano, Earl Palmers on drums, Jimmy Bond on bass, Barney Kessel on guitar, Jom Horn and Teddy Edwards on sax along with Tony Terran and Fred Hill on trumpet.

"Too Much!" contains the following tracks:

01. Yes, It Hurts (Doesn't It) (2:08)
02. It's an Uphill Climb To the Bottom (2:55)
03. I Just Want To Make Love To You (3:29)
04. You're Takin' My Bag (3:12)
05. Then You Can Tell Me Goodbye (2:32)
06. Dead End Street (Monologue) (1:37)
07. Dead End Street (2:22)
08. Twelfth of Never (3:46)
09. Righteous Woman (Monologue) (2:09)
10. I Wanna Little Girl (2:15)
11. Why (Do I Love You So) (2:45)
12. I'll Take Time (2:05)
13. You're Always On My Mind (2:50)

All tracks were remastered from the original vinyl in February / March 2012, they are available as a single FLAC lossless format file or high-quality 320 Kbps MP3 file. Both formats include complete printable artwork as PDF files.

Before you burn this album on CD-R using the provided CUE file you will need to convert the original files to WAV format using an appropriate software. Here's an option for FLAC to WAV conversion and one for MP3 to WAV conversion.

As usual, please have a look at the comments for the download links.




Mostly recorded during mid-February 1967 in Los Angeles, "Too Much!" was #1 on the Billboard Jazz Chart, #2 on the Billboard R&B Album Chart and #3 on the Billboard Pop Album Chart. The album starts with "Yes, It Hurts (Doesn't It?)", a track written by lyricist Ben Raleigh (responsible for a number of major hits by Nat King Cole, Johnny Mathis, Aretha Franklin, Dinah Shore and many others, including - of course - Lou Rawls) and arranger H. B. Barnum. "It's an Uphill Climb To the Bottom" follows; this is a strong number written by William Fangette Enzel and brought to success by Walter Jackson in 1966.

"I Just Want To Make Love To You" is a 1954 blues written by Willie Dixon and first recorded by Muddy Waters; it has been performed by countless singers and bands including The Rolling Stones, Van Morrison, The Yardbirds, Bo Diddley, The Animals... It is best remembered in the version recorded by Etta James in 1961. "You're Takin' My Bag" and "Then You Can Tell Me Goodbye" were both penned by singer-songwriter John D. Loudermilk, they were included in his own album "Suburban Attitudes In Country Verse" released just a couple of months later than "Too Much!".

"Dead End Street", along with its spoken introduction aptly entitled "Dead End Street (Monologue)", is the most remarkable song on the album. Composed by David Axelrod and Ben Raleigh (with the monologue credited to Rawls himself), it was also released as a single and won the1967 Grammy Award for Best R&B Vocal Performance. It is said that it helped to pave the way for a singing style that foreshadowed rap or hip-hop. The single was #3 on the Billboard R&B Chart and #29 on the Billboard Pop Chart.

Front cover of the French edition of a "Dead End Street" four tracks EP

Here's the lyrics of "Dead End Street":

I was born in a city they called the Windy City, and they called it the Windy City because of the Hawk: the Hawk, the almighty Hawk - Mr. Wind - takes care of plenty business 'round winter time.

The place that I lived in was on a street that - uh - happened to be one of the dead-end streets where there was nothing to block the wind, the elements, nothing to buffer them for me, to keep 'em from knocking my bed down, you know. I mean really sockin' it to me.

When the boiler would bust and the heat was gone I had to get fully dressed before I could go to bed 'cause I couldn't put on my goulashes 'cause they had buckles on them and my folks didn't play that, they said: "Don't you tear up my bed clothes with some goulashes on".

But I was fortunate: soon as I was big enough to get a job and save enough money, get a ticket, catch anything I split.

And I said "One day I'm gonna return and I'm gonna straighten it all out", and I'm 'bout ready to go back now, so I thought I'd tell you about it.

They say this is a big rich town
but I live in the poorest part
I know I'm on a dead-end street
in a city without a heart

I learned to fight before I was six
the only way I could get along
When you're raised on a dead-end street
you've gotta be tough and strong

Now all the guys I know gettin' in trouble
that's how it's always been
When the odds are all against you
how can you win?

Yeah, yeah, yeah
Ah Lord 'n' now yeah

I'm gonna push my way out of here
even though I can't say when
But I'm gonna get off of this dead-end street
and I ain't never gonna come back again

Never
No no no
Oh now Lord
Again now yeah

I'm gonna push my way out of here
even though I can't say when
But I'm gonna get off of this dead-end street
and I ain't gonna never come back again

No no no
I ain't gonna come back to this dead-end street no more
No
'Cause I'm gonna get me a job

I'm gonna save my dough
get away from here
I ain't gonna come back no more
I'm tired of a dead-end street
I want to get out in the world and learn something
Tired of breakin' my back
I want to start usin' my mind

The second side of "Too Much!" opens with "Twelfth of Never", a popular song written by Jerry Livingston and Paul Francis Webster, the tune (except for the bridge) being adapted from "The Riddle Song" (also known as "I Gave My Love a Cherry"), an old English folk song; it was recorded with great success by Johnny Mathis in 1957 and later by other artists including Cliff Richard and Donny Osmond. "Righteous Woman" is another amusing monologue written by Rawls that serves as an introduction to his rendition of "I Wanna Little Girl", a jazz standard composed by Billy Moll and Murray Mencher back in 1930.

"Why (Do I Love You So)" is another classy number credited to James Woodie Alexander, once manager of The Pilgrim Travelers and Rawls' personal advisor and confidant. "I'll Take Time" by John Anderson features a nice horns arrangement and sax solo; it precedes "You're Always On My Mind", the closing track written - once again - by James Woodie Alexander.

Here's the credits and personnel list of "Too Much" as they appear on the back sleeve:

Arranged by H. B. Barnum

Produced by David Axelrod

The backing includes:
Gerald Wiggins - piano
Earl Palmers - drums
Jimmy Bond - bass
Barney Kessel - guitar
Jom Horn - sax
Teddy Edwards - sax
Tony Terran - trumpet
Fred Hill - trumpet

"Twelfth of Never", "Why (Do I Love You So)", "I Just Want To Make Love To You" and "It's an Uphill Climb To the Bottom" were recorded on February 14, 1967.

"Yes, It Hurts (Doesn't It)", "You're Takin' My Bag", "Righteous Woman (Monologue)" and "I Wanna Little Girl " were recorded on February 15, 1967.

"You're Always On My Mind", "Dead End Street", "Then You Can Tell Me Goodbye", "I'll Take Time" and "Dead End Street (Monologue)" were recorded on February 16, 1967.

Lou Rawls performing at Monterey Pop Festival, 16.06.1967, both photos by Gene Anthony

During the late 1960s, Rawls appeared regularly on TV variety shows and became a show-room figure in the nightclubs of Las Vegas. In 1970 he recorded a single entitled "Your Good Thing Is About To Come To an End," a title that contradicted the success he experienced in the Seventies. The song was nominated for a Grammy Award.

He switched to MGM Records in 1971, "A Natural Man" was the first album he recorded with them. The homonymous single earned Rawls a second Grammy Award in 1972. He released two more albums with MGM but the hits stopped cold...

It took a chance meeting with Weldon McDougal of Philadelphia International to radically alter Lou Rawls's stalled recording career, but this is a story that will be extensively covered at a later date in a different post.

In 1989 Rawls' hometown of Chicago named a street after him: South Wentworth Avenue was renamed Lou Rawls Drive. He died on 6 January, 2006 in Los Angeles, California.

Lou Rawls performing "Dead End Street" on TV sometimes in 1967

"Unless you've heard the song before - even if you know a singer well, it might take a short while to realise just who it is singing, when you hear them on the radio. But with Lou Rawls that doesn't happen – you know it's him at once. So distinctive is his voice and style, there's no mistaking Lou – he was one of a kind."

[Peter Burns, full feature is available here]

If you have any other useful information about Lou Rawls and "Too Much!" - especially corrections and improvements to this post - or if you spot any dead links, please get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!

JOHNNY MATHIS "THE HEART OF A WOMAN" (1974)

Johnny Mathis's adventure with music began with an old $25 upright piano - a piano, so the story goes, so big that in order for his father to get it into the small basement flat on San Francisco's Post Street, it had to be taken apart. It was three in the mormimg, Mr. Mathis later recalled, before he put the last section in place. All the member of the Mathis family had drifted off the bed - all but one: young Johnny, who hung around the new acquisition as if it were magic. Mr. Mathis sat down and played "My Blue Heaven" for Johnny.

"I could see it in his face that he loved music, too." remembered Mr. Mathis. "I taught him that song. He got it in nothing flat, and he put something into it. That's when I felt it - I felt that the sound I heard, if it could be cultivated, maybe a lot of people would love the sound. And that's when I knew I had a job to do."

That was the beginning of Johnny Mathis. He was eight then, and 12 years later, the shy, wiry Johnny consumated his love affair with song. As a teenage idol he earned $ 100.000 a year. At 29, he became a millionarie. Today, at 38 and with 56 albums to his credit, he is a multimillionaire.

His cultivated image as the love song singer remains intact: "I think love chose me. I didn't choose it. It just happened. I don't know why I ended up being the love singer."

Renée Lamarr, Encore magazine, June 1974



One of the last and most popular in a long line of traditional male vocalists who emerged before the rock-dominated 1960s, Johnny Mathis concentrated on romantic readings of jazz and pop standards for the ever-shrinking adult contemporary audience of the '60s and '70s. Though he debuted with a flurry of singles chart activity, Mathis later made it big in the album market, where a dozen of his LPs hit gold or platinum and over 60 made the charts. While he concentrated on theme-oriented albums of show tunes and traditional favorites during the '60s, he began incorporating soft rock by the '70s and remained a popular concert attraction well into the '90s.

[Excerpt from Johnny Mathis bio]

Following "I'm Coming Home", released the previous year and conducted / arranged by legendary Philadelphia producer Thom Bell along with singer-songwriter / lyricist Linda Creed (the album is documented here in all its glory thanks to the usual great mastering work by Funkerman), "The Heart of a Woman" was Johnny Mathis' 57th-or-something album.

"The Heart of a Woman" was released in late November 1974 and was produced by Johnny Bristol, who, after his successful Motown productions both in team with Harvey Fuqua (most notably Marvin Gaye and Tammi Terrell's "Ain't No Mountain High Enough" hit-single) and alone (more singles by Gladys Knight & the Pips, Jermaine Jackson and a U.K. hit-single by The Velvelettes), had made it into his own as a singer (his debut album "Hang On In There Baby" has just been released a few months earlier the same year), and was fast becoming a respected and sought-after songwriter and producer in the American music world.

Accompanied by the above-mentioned  "I'm Coming Home" and "Mathis Is...", released in 1977 and once again produced by Thom Bell, "The Heart of a Woman" may be seen as the central part of an ideal triptych of albums released by Mathis during the 70s whose "soul" sound was still aimed at the adult contemporary market but probably also at a different kind of younger audience.

Here's another excerpt from the article/interview by Renée Lamarr published on the June 1974 issue of Encore magazine:

Johnny possesses to his musical fingertips that indefinable quality called style. Yet celebrated as he is an outstanding pop artist, Black audiences never turned on to him in great numbers. They remained distant from him when he was at the peak of his career. For all his success, Mathis was seen merely as a pretty boy singing love ballads. In the late fifties and early sixties Blacks preferred the rhythm-and-blues sounds of Jackie Wilson, Ray Charles, the Drifters, the Platters. Johnny says, apologetically, "Black people never bought my records in great numbers, but that didn't mean that they didn't hear or like them."

Johnny Mathis does not like discussing civil rights or his "responsibilities as a Black artist". When pressed, he says that he looks forward to the day when those kinds of questions need not be asked. "I don't make judgements based on the color of someone's skin. Either you are intelligent or you are ignorant."

Recently there has been an attempt to interpret the name of Johnny's new hit album, I'm Coming Home - which has attracted Black record lovers - as a statement by Johnny to the Black community. Johnny says, "There is no connection. I didn't write the song, Linda Creed did. And Linda Creed is a little Jewish girl."



"The Heart of a Woman" comes in a nice cover with stunning photographs by Richard Avedon (whose work had already graced other Mathis' releases earlier). The album contains the following tracks:

01. Woman, Woman (3:16)
02. Sail On White Moon (3:12)
03. It's Gone (3:13)
04. House For Sale (3:18)
05. Feel Like Makin' Love (3:40)
06. Memories Don't Leave Like People Do (4:23)
07. Strangers In Dark Corners (3:50)
08. Wendy (3:36)
09. The Heart of a Woman (2:57)
10. The Way We Planned It (3:35)

All tracks were remastered from the original vinyl in November 2011 and are available in FLAC lossless format or high-quality 320 Kbps MP3 files, both formats include completely restored PDF artwork. Please have a look at the comments for the download links.





Four tracks on "The Heart of a Woman" are written or co-written by Johnny Bristol and they probably are the highlights of the album. Most of the songs are arranged by Paul Riser, except a few whose arrangements are credited to H. B. Barnum and James C. Barnett.

"Woman of the world, you're something special, girl. You're not a tool for some damn fool to break, no, no. That, you don't have to take..." So goes the refrain of "Woman, Woman", the opening number written by Johnny Bristol that already appeared as the first track on his debut LP "Hang On In There Baby" a few months earlier. Compared to the original this version is considerably shorter and doesn't offer the complex instrumental intro. This song was also released as a 7" single in some European countries offering "Feel Like Makin' Love" as a tempting B-Side.

"Sail On White Moon" is also penned by Bristol, it was released as the B-side of the domestic version of "The Heart of a Woman" single. According to Discogs, 7" promo copies with a "stereo" version on the A-side and a "mono" version on the B-side also exist. This song was part of Bozz Scaggs' "Slow Dancer", an album produced earlier the same year by Johnny Bristol.

"It's Gone" and "House For Sale" are songs that probably appealed more to the "traditional" Mathis public, the latter was written by Lawrence D. Brown and Oleg Lopatin and was also included on "Soul & Inspiration", an album by the popular music vocal group The 5th Dimension, the same year.

"Feel Like Makin' Love", a rendition of Roberta Flack's hit-single written by Eugene McDaniel, closes the first side of the album. This song was also released as a 7" single in U.K. backed with "The Heart of a Woman" on the B-Side.

"Memories Don't Leave Like People Do" is again a song written by Johnny Bristol, this time in collaboration with John Henry Glover Jr., James A. Dean and Jerry Butler. This tune was used as the opening number on Butler's "Power of Love", produced by Bristol and released in 1973. Bristol had also recorded and released his own version of this track on his debut album in early 1974.

"Strangers In Dark Corners", the last Bristol-penned song that appears on "The Heart of a Woman", had already been included on Tavares' "Check It Out", their debut album produced by Johnny Bristol in late 1973. Bristol will also record and release this tune on "Strangers", his fourth LP, in 1978.

Originally performed by The Impressions on the original soundtrack of "Three The Hard Way", an action blaxploitain movie directed by Gordon Parks Jr. in 1974, "Wendy" is another all-sugary tune performed by Mathis at his best in his usual passionate way.

"The Heart of a Woman", the album title-track deserves a deeper look. Also released as a single in the U.S., the song was created as a singing commercial for Helena Rubinstein’s Courant perfume. Here's the whole story as published in the 23rd November 1974 issue of Billboard:

Mathis Gets Col-Cosmetic Promo

NEW YORK — Columbia Records and Helena Rubinstein, cosmetic manufacturer, are cross-promoting their respective products with separate campaigns backing a new Johnny Mathis release and Courant perfume. The development between the two firms was prompted by a Mathis recording of an original commercial tune for Courant, which was then selected as the "B" side of a new single and the title cut of his "The Heart Of A Woman" LP, now scheduled for release Monday (25). On the Columbia side, the label is inserting a "scratch-and-sniff"’ advertising panel, 3"x3" in size, under the skin wraps of the first 100.000 alburns pressed. The panel pictures Courant products and alerts buyers to a national radio campaign being run by Courant. Beginning Thursday (21), some 60 radio stations. covering the top 15 markets in the U.S., will air seventy 60-second Courant spots per week through Christmas. The spots credit Mathis as a Columbia recording artist and also name the composition he is performing. They will be aired on Thursday, Friday and Saturday of each week. It is also understood that Courant has acquired some 13.000 Mathis singles with special promotional sleeves, and will be distributing them free at its cosmetic counters throughout the U.S. during the holiday buying season.

With "The Way We Planned It" the album comes to its end.


Johnny Mathis, photo by Richard Avedon

The following credits/notes are taken from the back cover of "The Heart of a Woman":

Produced by Johnny Bristol.

Special thanks to Franzel Venable for vocal harmony on "Feel Like Makin' Love".

Musicians:
Henry Wallace Shead - Keyboards
Reginald Burke - Keyboards
Melvin M. Ragin - Guitar
Ray E. Parker Jr. - Guitar
Dennis Coffey - Guitar
Michael Anthony - Guitar
Henry E. Davis - Bass
Edward Greene - Drums
Joe L. Clayton - Percussion
Gene Estes - Percussion

All songs arranged by Paul Riser except "The Way We Planned It" arranged by H. B. Barnum and "Feel Like Makin' Love" and "The Heart of a Woman" arranged by James C. Barnett.

Engineering and mixing by Greg Venable.

Recorded at Larrabee Sound, West Los Angeles, and Devonshire Sound, North Hollywood, California.

Produced by Johnny Bristol for Jon Mat Records, Inc., except "The Way We Planned It" produced by Jerry Fuller for Jon Mat Records, Inc.

Photos by Richard Avedon.

Cover Design by John Berg.


Johnny Mathis, photo by Richard Avedon

This is a review of "The Heart of a Woman" taken from Billboards Top Album Picks published in the 7th December 1974 issue:

For nearly 20 years, Mathis has been one of our premier singers and one of the few who has almost continuously appeared to all generations. Here he uses his patented velvet voice to float through a number of the types of ballads he has always been associated with as well! as some more uptempo things which fall somewhere between soul rockers and his familiar Style. With Johnny Bristol handling the production, we may have the most contemporary commercial LP Mathis has come up with in several years.

Best cuts: "Woman, Woman", "Stranger In Dark Corners", "Memories Don't Leave Like People Do", "The Heart of a Woman", "Feel Like Makin' Love".

Dealers: Mathis catalog generally picks up around Christmas, and display can he helped with fine Avedon cover photo.

And to finish this post, here's a few interesting links about Johnny Mathis and Johnny Bristol:

http://www.themathischronicles.net/

http://www.thejohnnymathisarchives.com/

http://www.soulfulkindamusic.net/jmathis.htm

http://www.funtrivia.com/en/Music/Mathis-Johnny-16607.html

http://hardtofindbeats.blogspot.com/2011/11/coming-up-johnny-mathis-im-coming-home.html

http://www.soulwalking.co.uk/johnny%20bristol.html

http://www.spectropop.com/remembers/JohnnyBobit.htm

http://www.soulfulkindamusic.net/jbristol.htm

http://www.soulmusic.com/jobrfemaands.html

http://hardtofindbeats.blogspot.com/2011/11/johnny-bristol-hang-on-in-there-baby.html

If you have any other useful information about "The Heart of a Woman" - especially corrections and improvements to what I wrote above - or if you spot any dead links, just get in touch with me at stereocandies [at] hotmail [dot] com or leave a comment in the box below, thank you!