sábado, 16 de novembro de 2024
Nicky Hopkins - The Tin Man Was A Dreamer 1973
Ian Hunter - You’re Never Alone With a Schizophrenic 1979
Rainman - Rainman 1970
A Tint of Darkness - A Tint of Darkness 1978
Garolou - Lougarou 1976
Garolou was a pan-Eastern Canadian group with members from Ontario through to the Maritimes. Its origins could be traced to Franco-Ontarian brothers Marc and Michel Lalonde who were living in Prince Edward Island in 1974 and part of a theatre troupe. Their musical career began humbly as a folk duo, but their interests and their popularity resulted in expansion to a full rock ensemble including keyboards, bass, and drums, performing revved up and re-interpreted folk songs with plenty of progressive flourishes, Canada's answer to Steeleye Span if you will. The group was ultimately based in Quebec, partly because a studio in the Laurentian Mountains was kind enough to provide free time to produce their first recording, even without any label signing, which eventually came. Their history is a turbulent one. While personnel changes were frequent and almost de rigueur for the communal lifestyles of the period, Garolou survived the indignity of a name change from their original Lougarou moniker, resulting of a threatened lawsuit from a folk dance troupe with a very similar name. The original name is a contraction of the French word for werewolf, while Garolou is a play on words at several levels, perhaps at least one being a slight at the dance troupe. One interpretation is "Beware the Wolf", while another is "Boy of the Wolf".
Their first two albums, Lougarou (1976) and Garolou (1978) are regarded as their best and sold well. The 80s brought forth Romanceros (1980), which received critical acclaim, and Centre-ville (1982), but by then the golden era of Quebecois folk had withered, and the group called it a day in 1983. In 1993 the band re-united and has performed on and off since then. Rekindled interest resulted in re-releases of the four albums packaged as 2 two-fers, a live album, and a 1999 studio recording, all testament to the band's enduring appeal.
listen heresexta-feira, 15 de novembro de 2024
Quiver - Gone In the morning 1972
The Art Ensemble of Chicago - Certain Blacks 1970
Dave Mason - Alone Together 1970
Procol Harum - Home 1970
David Clayton-Thomas - David Clayton-Thomas 1973
Ashman Reynolds - Stop Off 1972
Black Artists Group - In Paris, Aries 1973
BAG's neighborhood roots ran deep in the city's Black community: Lake and trumpeters Lester Bowie and LeFlore all studied together in the Sumner High School's jazz program. They continued their jazz education at Lincoln University alongside Hemphill. All played music in clubs, churches, and auditoriums in St. Louis throughout the '60s. The musicians collectively experienced frustration with the lack of performance or recording opportunities due to racism. They were also in deep dialogue with Black actors who had been marginalized in the theater. These two groups began collaborating on artistic productions around the Laclede Town housing development, as well as the Berea Church.
The group of collaborating players and actors found creative and organizational inspiration in Chicago's Association for the Advancement of Creative Musicians -- Lester Bowie became a member of AACM when he joined the Art Ensemble of Chicago. Together, these groups co-founded the Black Artists Group, unique for its interdisciplinary collaboration and inclusion; the founders recruited artists from dance, visual arts, and creative writing.
In 1968, "The Black Artists Group, Inc." was incorporated as a nonprofit organization. Their administrators wrote grant proposals and received funding from both the Danforth and Rockefeller Foundations. In July 1969, the group leased a building at 2665 Washington Blvd. for the annual rent of one dollar. There they held workshops, classes, readings, dance, and theater rehearsals, and offered studio space to visual artists. This lasted for three years before many of the BAG's members (particularly but not exclusively musicians) relocated to Paris and other cities in Europe where, as the Art Ensemble revealed in 1968, American musicians were welcome. While touring, BAG recorded a concert and privately released it as In Paris, Aries 1973, their only album. They formally dissolved in 1973. Lake, Hemphill, and Bluiett formed the African Continuum, an outgrowth of BAG, in the years before they joined David Murray and formed the World Saxophone Quartet.
Many BAG artists relocated to New York and Europe during the '70s. The African Continuum organized the famed 1971 multimedia concert "Images: Sons/Ancestors" at Powell Symphony Hall -- it was delayed by a bomb threat. In 1971, Bobo Shaw, Luther Thomas, and saxophonist Jack Marshall founded the Human Arts Ensemble, an internationally celebrated musical collective that was in near constant in dialogue with BAG and AACM, and hosted many BAG musicians including both Bowies, Parran, Hemphill, Lake, Carroll, and Bluiett, as well as saxophonist Marty Ehrlich, bassist John Lindberg, and percussionist Gene Lake -- who made his recording debut at age six on HAE's debut album Whisper of Dharma.
In 2020, director Brian De Matteis unearthed the 49-minute documentary Black Artists' Group: Creation Equals Movement. It was shown on PBS and at film festivals globally. In September 2024, French indie label Wewantsounds released For Peace and Liberty, In Paris Dec 1972. BAG's second album -- and first in more than a half-century -- offers a performance (long thought lost) recorded in optimal conditions at Maison de l'ORTF (a French state radio). The tapes were unearthed from the vaults of INA (Institut National de l’Audiovisuel). The 35-minute set mixes free improvisation with spiritual jazz and funk. Released by BAG and INA, the sound was remastered from the original tapes. The package offers a 20-page booklet featuring notes from Lake, Joseph Bowie, Carroll and Bobo Shaw's and LeFlore's daughters; extensive liner notes by BAG scholar Benjamin Looker, and previously unseen photos by cult French photographer Philippe Gras. AMG.
listen hereSammy - Sammy 1972
It's doubtful many folks have ever heard the British band Sammy - I certainly hadn't which was kind of surprising given the band's impressive pedigree. Drummer Mick Underwood was apparently the band's driving force, with the lineup rounded out by a collection of rock veterans including ex-Audience horn and woodwinds player Keith Gemmell, ex-Billy J. Kramer keyboardist Mick Hodgkinson, former Ginhouse guitarist Geoff Sharkey, and ex-Roy Young Band bassist Paul Simmons. Signed by Philips, the band debuted with a 1972 45 'Goo Ger Woogie' b/w 'Big Lovin' Woman' (Philips c. While the single did little commercially, it attracted enough interest and attention for Philips management to green light an album.
Co-produced by Louie Austin and Deep Purple's Ian Gillan (not Jon Lord) and the front cover artwork was done by Philip Castle who was the man who did the artwork for the film Clockwork Orange. 1973's "Sammy" offered up a competent, if slightly worn set of mid-1970s hard rock.
Largely penned by Sharkey and Simmons, lyrically and musically there wasn't a lot of originality going on here (kind of like the album cover) - Gemmell's sax adding occasional jazz-influenced runs to the band's blues and rock-oriented sound. As lead singer Sharkey wasn't bad; his raw raspy voice sounded surprisingly good on tracks like 'Give Me More', their unlikely cover of 'I Ain't Never Loved a Woman (The Way That I Love You)', and 'Get Into a New Thing'. Imagine Uriah Heep-lite with the saxes, a little more boogie and variety ('Who Do You Really Love') and you'll be in the right aural neighborhood.
The band was actually far more impressive on their isolated stabs at more-pop oriented material like 'Sioux-Eyed Lady' and 'Jo Anne'. Elsewhere the album spun off a UK single in the form of 'Sioux-Eyed Lady' b/w '70 Days'. Brainless fun, it's actually not a bad effort, especially if you approach it with the right mindset. therockasteria.
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