segunda-feira, 27 de junho de 2011
James Brown - Papa's Got A Brand New Bag 1965
Kennelmus - Folkstone Prism 1971
Kennelmus evolved from the more standard garage band the Shi-Reeves, who played British Invasion covers and surf music. Ken Walker changed the name to Kennelmus in 1969 (Kennelmus being his full first name), and with singer/guitarist Bob Narloch began recording Folkstone Prism in late 1970, with the help of bassist Tom Gilmore and drummer Mike Shipp. The record was very much the brainchild of Walker, who wrote all but one of the songs. Three of the four bandmembers worked at a pressing plant, making them one of the few, if not the only, group of their sort to literally help press their own recordings. An anomaly of its time (or any other), Folkstone Prism made little impact, and the band broke up around the mid-'70s, although the album was reissued on CD by Sundazed in 1999.
Rufus Zuphall - Phallobst 1971
By the close to the border one Rufus Zuphall played first more into that The Netherlands and in Belgium, where it 1970 before 30.000 spectators their break-through with the Jazzfestival in Bilzen to celebrate could. Beside musicians how Black Sabbath and Cat of Stevens inspired it as only amateur band on the main stage the public there. In December 1970 it took up white the devil “, soon whose piece of title of over 17 minutes of length (with inserted „buzzer time “) within three days their first LP „applied as a classical author of the category. Further pieces, how Splinter piglet or Knight OF third degree attained admittingness. Despite bad selling conditions the LP became a sales impact.
On the second album extend the equipment, and concomitantly the expression and the style width. Round beside the still prominent transverse flute Clavinet, Melotron and 12-saitige guitars the total sound, which developed on the one hand toward harder skirt, on the other hand in addition, the lyric moments particularly out-costs off. Altogether the second album works more extremely, the arrangements more strengthened than with the predecessor. Before their planned third LP, Avalon, decided the musicians were finished, out of musical as to be gone personal reasons in the future own ways. The LP finished to the half appeared then also only over 20 years later than Avalon and on, filled up with live-photographs from the years 1970 and 1971. After the separation tried Udo Dahmen and Manfred clip mountain with new seamists and guitarist the volume alive to hold, which failed in the long run, so that Rufus Zuphall dissolved 1973 finally.
1999 decided the former members to a reunification and played in original occupation, extended by that Hammondorgel- and E-Pianospieler Gero of grains a concert up Castle William stone in Würselen with Aachen. Udo Dahmen left it for time reasons with this concert, and to its place first refuge Schippers moved, before Roland Hegel took over the impact things part. In the year 2000 Rufus Zuphall published the CD as so far last album „Colder Than light live one 2000 “on the label forty-five. In this occupation played and/or. those plays volume until today in various clubs and on numerous festivals, about that Millennium open air Old person castle, on that Heart mountain festival or that Woodstöckchen open air Gressenich.
Clarence Wheeler & The Enforcers - Doin What We Wanna 1970
Batdorf & Rodney - Batdorf & Rodney 1972
David Lannan - Street Singer 1970
John Patton - Accent On The Blues 1970
Patton was born in Kansas City, MO, on July 12, 1935. His mother was a church pianist who encouraged her son to learn the instrument, which he began to play regularly at the age of 13. During the mid-'50s Patton worked in bands accompanying rhythm & blues singer Lloyd Price. By 1961 he had switched over to the organ, advancing along the trail blazed by Jimmy Smith, Shirley Scott, and Brother Jack McDuff. It was alto saxophonist Lou Donaldson who initially took Patton the organist into a recording studio -- first on May 9, 1962, to tape an LP to be called The Natural Soul, then on January 24, 1963, for a lengthy session that yielded enough material for the albums Good Gracious and Signifyin'.
On February 2, 1963, Patton sat in -- playing only the tambourine -- on Jimmy Smith's Rockin' the Boat session. Within weeks he had found his own groove and spent the rest of that year making great music as leader and sideman, exchanging ideas and energies with his close collaborator guitarist Grant Green (on the album Am I Blue?) and with saxophonists George Braith (on Patton's Blue John), Harold Vick (on Steppin' Out!), Johnny Griffin (on Soul Groove), Don Wilkerson (on Shoutin'), and Red Holloway (on Burner). Over the next few years Patton recorded with trumpeter Richard Williams (on Patton's Way I Feel) and vibraphonist Bobby Hutcherson (on Patton's Let 'Em Roll), and also appeared as a catalytic agent on Grant Green's album Iron City, George Braith's Laughing Soul, Clifford Jordan's Soul Fountain, and drummer Grassella Oliphant's Grass Is Greener with trumpeter Clark Terry and saxophonist Harold Ousley. In 1968 Patton's recording unit included saxophonists Junior Cook and Harold Alexander. The last of his albums from this period (Accent on the Blues and Memphis to New York Spirit) featured saxophonists Marvin Cabell and George Coleman as well as guitarist James Blood Ulmer.
After 1970 Patton quit the scene for a long while, quietly residing in East Orange, NJ. He contributed to vibraphonist Johnny Lytle's Everything Must Change in 1977, recorded his own Soul Connection in 1983 with guitarist Melvin Sparks and visionary trombonist Grachan Moncur III, then cut two albums with guitarist Jimmy Ponder: Mean Streets: No Bridges (1987) and Jump (1988). Big John Patton's comeback began in 1993-1994 with two albums featuring saxophonist John Zorn: Blue Planet Man and Minor Swing. Here he touched upon edgy ground similar to that which he had explored in 1968. His last major album, This One's for J.A., was recorded in December 1996. On March 19, 2002, 66-year-old John Patton succumbed to diabetes and renal failure. Overshadowed by organists who for one reason or another enjoyed greater popularity, and still underestimated by many jazz critics and historians, Patton and his recorded legacy are ripe and ready for open-minded reevaluation. AMG.
sexta-feira, 24 de junho de 2011
Rare Earth - Get Ready 1969
When they set out to record their first album, they essentially ran out of material and did a 21-minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time. So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U.S. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June of 1970, a couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third. An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The first was "(I Know) I'm Losing You" (another Temptations cover), which also broke the Top Ten. The second single, "Born to Wander," did not fare quite so well, but did make the Top 20. The album was catapulted to number 15.
Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at number seven and the album broke the Top 50. They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp. Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top 50.
Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day. The resulting album, Ma, was released in May of 1973 and fared just a little better than Willie Remembers, peaking at number 65. The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released. Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though.
What followed was a series of lineup changes and legal battles, and the group stopped touring altogether in 1974. The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. The single, appropriately entitled "It Makes You Happy (But It Ain't Gonna Last Too Long)" stalled just outside the Top 100. A disco-oriented excursion entitled Midnight Lady was released in 1976, but failed to really go anywhere. To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time.
As fate would have it, though, this was not the end of Rare Earth. Instead, Barney Ales, who had presided over Rare Earth Records, started his own label Prodigal Records. He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in 1977 and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year. That session yielded not one, but two albums. The first was Band Together, released in April of 1978, with Grand Slam following in September. Neither of those albums every really took off, either. The group essentially broke up in 1978, although a version of the original lineup was touring all the way into 1983. A different incarnation of the group, with just two original members, still makes the circuits.
Rare Earth's Motown debut is as well-oiled as a new V-8, and so are its liner notes: "In this age of ego-tripping freak bands, Rare Earth has stood pretty much alone. Each cat stands handsomely tall as if from a fashion rack at Carnaby. They do their gig; do it well -- and split." Smirking aside, the band turns in a smoothly harmonized "In Bed" and a chugging rhythm section for "Train to Nowhere." But the core of this release is a live side-long monster version of "Get Ready." It's as driven by the crowd's rapturous response as by the various solos, and the snake-charmer sax improv by Gil Bridges is easily the highlight of the album. AMG.
J.J. Cale - Naturally 1971
Born in Oklahoma City but raised in Tulsa, OK, Cale played in a variety of rock & roll bands and Western swing groups as a teenager, including one outfit that also featured Leon Russell. In 1959, at the age of 21, he moved to Nashville, where he was hired by the Grand Ole Opry's touring company. After a few years, he returned to Tulsa, where he reunited with Russell and began playing local clubs. In 1964, Cale and Russell moved to Los Angeles with another local Oklahoma musician, Carl Radle.
Shortly after he arrived in Los Angeles, Cale began playing with Delaney & Bonnie. He only played with the duo for a brief time, beginning a solo career in 1965. That year, he cut the first version of "After Midnight," which would become his most famous song. Around 1966, Cale formed the Leathercoated Minds with songwriter Roger Tillison. The group released a psychedelic album called A Trip Down Sunset Strip the same year.
Deciding that he wouldn't be able to forge a career in Los Angeles, Cale returned to Tulsa in 1967. Upon his return, he set about playing local clubs. Within a year, he had recorded a set of demos. Radle obtained a copy of the demos and forwarded it to Denny Cordell, who was founding a record label called Shelter with Leon Russell. Shelter signed Cale in 1969. The following year, Eric Clapton recorded "After Midnight," taking it to the American Top 20 and thereby providing Cale with needed exposure and royalties. In December 1971, Cale released his debut album, Naturally, on Shelter Records; the album featured the Top 40 hit "Crazy Mama," as well as a re-recorded version of "After Midnight," which nearly reached the Top 40, and "Call Me the Breeze," which Lynyrd Skynyrd later covered. Cale followed Naturally with Really, which featured the minor hit "Lies," later that same year.
Following the release of Really, J.J. Cale adopted a slow work schedule, releasing an album every other year or so. Okie, his third album, appeared in 1974. Two years later, he released Troubadour, which yielded "Hey Baby," his last minor hit, as well as the original version of "Cocaine," a song that Clapton would later cover. By this point, Cale had settled into a comfortable career as a cult artist and he rarely made any attempt to break into the mainstream. One more album on Shelter Records, 5, appeared in 1979 and then he switched labels, signing with MCA in 1981. MCA only released one album (1981's Shades) and Cale moved to Mercury Records the following year, releasing Grasshopper.
In 1983, Cale released his eighth album, 8. The album became his first not to chart. Following its release, Cale left Mercury and entered a long period of seclusion, reappearing in late 1990 with Travel Log, which was released on the British independent label Silvertone; the album appeared in America the following year. 10 was released in 1992. The album failed to chart, but it re-established his power as a cult artist. He moved to the major label Virgin in 1994, releasing Close to You the same year. It was followed by Guitar Man in 1996. Cale returned to recording in 2003, releasing To Tulsa and Back in 2004 on the Sanctuary label and The Road to Escondido, a collaborative effort with Clapton, in 2006 on Reprise. Roll On appeared in 2009 on Rounder Records.
J.J. Cale's debut album, Naturally, was recorded after Eric Clapton made "After Midnight" a huge success. Instead of following Slowhand's cue and constructing a slick blues-rock album, Cale recruited a number of his Oklahoma friends and made a laid-back country-rock record that firmly established his distinctive, relaxed style. Cale included a new version of "After Midnight" on the album, but the true meat of the record lay in songs like "Crazy Mama," which became a hit single, and "Call Me the Breeze," which Lynyrd Skynyrd later covered. On these songs and many others on Naturally, Cale effortlessly captured a lazy, rolling boogie that contradicted all the commercial styles of boogie, blues, and country-rock at the time. Where his contemporaries concentrated on solos, Cale worked the song and its rhythm, and the result was a pleasant, engaging album that was in no danger of raising anybody's temperature. AMG.
J. J. Cale - Really 1972
J. J. Cale - Okie 1974
J.J. Cale - Troubadour 1976
Soul Children - Friction 1974
One of the most fantastic albums ever about cheatin' and runnin' around behind the back of your loved one, and easily the best thing the Soul Children ever did. Totally solid all the way through, and clearly conceived as a concept album dealing with romantic "friction". Includes the hit "I'll Be The Other Woman", but all of the tracks are great, especially "What's Happening Baby" and "Love Makes It Right". Great great great! (Cover has a split top seam and a cutout notch.)
Paul Kantner & Jefferson Starship - Blows Against The Empire 1970
quarta-feira, 22 de junho de 2011
Dr. Feelgood - Be Seeing You 1977
Brilleaux (vocals, harmonica), Johnson (guitar), and John B. Sparks (bass) had all played in several blues-based bar bands around Canvey Island, England before forming Dr. Feelgood in 1971. Taking their name from a Johnny Kidd & the Pirates song, the group was dedicated to playing old-fashioned R&B and rock & roll, including both covers and originals by Johnson. John Martin (drums), a former member of Finian's Rainbow, was added to the lineup, and the group began playing the pub rock circuit. By the end of 1973, Dr. Feelgood's dynamic live act had made them the most popular group on the pub rock circuit, and several labels were interested in signing them. They settled for United Artists, and they released their debut album, Down by the Jetty, in 1974.
According to legend, Down by the Jetty was recorded in mono and consisted almost entirely of first takes. While it was in fact recorded in stereo, the rumor added significantly to Dr. Feelgood's purist image, and the album became a cult hit. The following year, the group released Malpractice -- also their first U.S. release -- which climbed into the U.K. Top 20 on the strength of the band's live performances and positive reviews. In 1976, the band released the live album Stupidity, which became a smash hit in Britain, topping the album charts. Despite its thriving British success, Dr. Feelgood was unable to find an audience in the States. One other American album, Sneakin' Suspicion, followed in 1977 before the band gave up on the States; they never released another record in the U.S.
Sneakin' Suspicion didn't replicate the success of Stupidity, partially because of its slick production, but mainly because the flourishing punk rock movement overshadowed Dr. Feelgood's edgy roots rock. Wilko Johnson left the band at the end of 1977 to form the Solid Senders; he later joined Ian Dury's Blockheads. Henry McCullough played on Feelgood's 1977 tour before John "Gypie" Mayo became the group's full-time lead guitarist. Nick Lowe produced 1978's Be Seeing You, Mayo's full-length debut with Dr. Feelgood. The album generated the 1979 Top Ten hit "Milk and Alcohol," as well as the Top 40 hit "As Long as the Price Is Right." Two albums, As It Happens and Let It Roll, followed in 1979, and Mayo left the band in 1980. He was replaced by Johnny Guitar in 1980, who debuted on A Case of the Shakes, which was also produced by Nick Lowe.
During their first decade together, Dr. Feelgood never left the road, which was part of the reason founding members John Martin and John Sparks left the band in 1982. Lee Brilleaux replaced them with Buzz Barwell and Pat McMullen, and continued touring. Throughout the '80s, Brilleaux continued to lead various incarnations of Dr. Feelgood, settling on the rhythm section of bassist Phil Mitchell and drummer Kevin Morris in the mid-'80s. The band occasionally made records -- including Brilleaux, one of the last albums on Stiff Records, in 1976 -- but concentrated primarily on live performances. Dr. Feelgood continued to perform to large audiences into the early '90s, when Brilleaux was struck by cancer. He died in April of 1994, three months after he recorded the band's final album, Down at the Doctor's. The remaining members of Dr. Feelgood hired vocalist Pete Gage and continued to tour under the band's name. Former Feelgoods Gypie Mayo, John Sparks, and John Martin formed the Practice in the mid-'80s, and they occasionally performed under the name Dr. Feelgood's Practice.
The Nick Lowe-produced Be Seeing You, Dr. Feelgood's first album with guitarist John Mayo, was only slightly weaker than the group's previous records. Although Mayo was still working his way into the band's sound, Dr. Feelgood retained their tough, hard-rocking appeal.
Jefferson Airplane - Flight Log 1977
Lynyrd Skynyrd - Street Survivors 1977
Elvin Bishop - Raisin Hell (Live) 1977
However, it was not until he won a National Merit Scholarship to the University of Chicago in 1959 that Bishop found the real answers to his questions. He found himself in the middle of the Chicago blues scene and immersed himself in the genre. After two years of college, Bishop dropped out and pursued music full time, eventually meeting Howlin' Wolf's guitarist Smokey Smothers and learning the basics of blues guitar from him. In the early '60s, Bishop teamed up with Paul Butterfield helped form the core of the Butterfield Blues Band. Although he had only played guitar for a few years, he practiced frequently and played with Butterfield in just about every place possible, including campuses, houses, parks, and -- in the venue that helped launch the band -- Big John's on Chicago's North Side. Bishop also helped shape the sound of several Butterfield albums, including The Pigboy Crabshaw, whose title refers to Bishop's countrified persona.
In 1968, Elvin Bishop left Butterfield's band following the release of In My Own Dream. He launched a solo career and relocated to the San Francisco area, where he made frequent appearances at the Filmore with artists like Eric Clapton, B. B. King, Jimi Hendrix, and the Allman Brothers Band. Bishop recorded for four albums for Epic Records and later signed with Capricorn in 1974. His recording of "Traveling Shoes" (from the album Let It Flow) made a dent on the charts, but the single "Fooled Around and Fell in Love" (from Struttin' My Stuff) made a bigger splash in 1976 when it peaked at number 3 on the Billboard charts. Over the next few years, the Elvin Bishop Group dissolved. He released his album Best Of in 1979 and lay low for several years, eventually resurfacing when he signed with the Alligator label in 1988.
Bishop then released Big Fun in 1988 and Don't Let the Bossman Get You Down in 1991, both of which were well received. He also participated in Alligator's 1992 20th Anniversary cross-country tour; three years later, he toured with veteran bluesman B.B. King and released an album entitled Ace in the Hole. The Skin I'm In followed in 1998, and 2000's That's My Partner saw him teaming up with Smokey Smothers, the same musician who had originally taught him guitar. After a five-year hiatus, Bishop released Gettin' My Groove Back in 2005 via Blind Pig Records; he then jumped to the Delta Groove Music label for 2008's The Blues Rolls On, which featured guest spots by B.B. King, Warren Haynes, Derek Trucks, and others. AMG.
Blackfoot Sue - Strangers 1977
Folly's Pool - Folly's Pool 1977
A little musical gem, featuring the indisputable talents of guitarist and singer/songwriter Steve Ono and his chums aka Folly's Pool. Originally a private pressing released in 1977 on Century Records under the stewardship of Fresno-born Ono, the album sees the band take us on a tour de force of acoustic-based rural rock with folk, prog and country influences often in the background.
At times Folly's Pool sounds like they're trying to be The Eagles or Loggins & Messina, but in many ways this does the band a disservice as they have successfully created an individual approach to their music which often turns the ordinary into the exceptional (the cunning transformation from folk to prog of "Jig In A" is worth the price of admission alone) and the high standard of everything the band plays (the stunning electric guitar solos are particularly fine) makes this album one to get one's teeth into!
In year 2008 they released their second copmlete work "Road Through Independence" an excellent smooth, piano-based adult rock album. The sound is very "California" with touches of Southern rock attitude.
Mike Bloomfield - I'm With You Always 1977
David Crosby - If I Could Only Remember My Name 1971
Illusion - Out of the mist 1977
Lawrence Hammond - Coyote's Dream 1977
The music of this cultural fusion was well documented and includes some famous masterpieces. Despite some obvious drawbacks, Coyote's Dream rates right up there with any great country rock moment, sometimes even surpassing the threshold with a track such as "Trucker's Nightmare," a superb, hard-edged ditty that doesn't appear to have ever been included on any of the numerous compilation sets devoted to songs about truckers. Ignoring this album may have been something of a religion, yet certain listeners seem to cling to it. For example, a highly accomplished steel guitarist carefully copied the vinyl to distribute in burned CD form to other prospective fans, complete with hand-drawn cover and notes in which no knowledge of any particular sidemen accompanying Lawrence Hammond is admitted. Actually, some of the sidemen are the same dudes who played on similar material from the period that achieved much more commercial success, particularly fiddler Byron Berline. The fine pedal steel player is Bill Weingarden.
Hammond`s singing style may have been one of the problems if reactions of music critics can be trusted, not always the right philosophy but basically considered reasonable in this case following careful comparison of said voice and said criticism. Yes, "a voice to crisp an aardvark's nose hairs" is a little mean. Meanness may be excused as a reaction, however, after absorbing a few of the man's stylistic mannerisms, among them a falsetto maneuver as uncomfortable as someone unwanted sitting down at a campfire.
"I spent the entire album listening to each word, waiting for another one of those falsettos in sheer dread" commented a member of the network that had received dubs of the project as a further distribution of the steel guitarist's original donation. The reactions of a varied group of enthusiastic music listeners is interesting in any case, demonstrating the great appeal of this LP as clearly as it underscores the frightening aspects of Hammond vocalizing.
A critic who had always seemed kind of kinky -- yet an expert in country & western of all sorts nonetheless -- admitted that he had become a prisoner of the first track, unable to proceed further, not out of dislike but the total opposite. Feelings like this about a song entitled "George Gudger's Overalls" will not seem extreme to anyone who has experienced the song itself. It is one of the few songs in the history of music about a pair of pants, and if that is not enough includes a round of indecent exposure , the songwriter coming up with good rhymes for both "in the raw" and "in the nude." Another reaction touches on lyrics as well, speculating whether even the great Roger Miller had managed to come up with a rhyme based on the name of union thug Jimmy Hoffa. Unfortunately, the latter listener became more enamored with Hammond than was emotionally healthy, lapsing into a severe depression when nobody actually showed up to "sit a spell" and "drink a few" as promised in an endearing portrait of "Uncle John Mills." Not exactly sure of what to make of the following reaction, it is included because of the relevant reference to twangy guitars, a really attractive part of the entire album: "Hey this was the first thing I listened to after replacing one of my headphone ear pieces with a wad of scotch tape. I am not sure what happened to the earpiece, I think it got dragged the length of the corridor in a hotel on a marble floor. Anyway I like the scotch tape better, it twitches and tickles my ears when the guitars are twangy, I like it so much I am going to revisit my entire country collection."
The record also sounded good to a film projectionist who while not admitting it actually was experiencing even worse playback deficiencies then the aforementioned head-taper, as opposed to home-taper. "I had the soundtrack to Exodus playing in the background, it sometimes drowned out Coyote's Dream." Finding a copy in pristine audio conditions to form an individual judgment will no doubt take longer than listening, the album features only eight songs and lasts just a bit longer than a half-hour. AMG.
Stephen Whynott - From Philly To Tablas 1977
Brigitte Bardot - Brigitte Bardot Show 1968
Dejan's Original Olympia Brass Band - Street Parade 1968
The first "Olympia Brass Band" was active from the late 19th century to around World War I. The most famous member was Freddie Keppard.
In 1958, saxophonist Harold Dejan, leader of the 2nd unit of the Eureka Brass Band, split off to form the current Olympia, reviving the historic name.
The band had a notable part in the 1973 James Bond movie "Live and Let Die" where they lead a funeral march for a freshly assassinated victim. Trumpeter Alvin Alcorn plays the knife wielding "baby faced killer".
In addition to playing for parades and parties, the band for many years had a weekly gig at Preservation Hall on Sunday nights for many years. The band also toured Europe on numerous occasions and also toured Africa for the U. S. State Department. The band did a BBC radio broadcast for Queen Elizabeth's 25th wedding anniversary in 1972 while they were in London, and also played for Pope John Paul II on his visit to New Orleans. JazzArchives.
Daevid Allen - Now Is The Happiest Time Of Your Life 1977
Despite his seeming frivolity, Allen has always had a vein of counterculture protest running through his music, and this comes to fruition in "Poet for Sale," a song that Allen directs with venom toward the business end of music. "Only Make Love If You Want To" is a hypnotic piece driven by a carousel-sounding synthesizer and Allen's sly vocals. "I Am" is an 11-minute musical rendering of a Daevid Allen morning meditation from his home in Deya, Majorca. Like "Wise Man in Your Heart" from Good Morning, this tune harkens to the spacy side of Gong, with Allen's patented glissando guitar creating a serene, meditative state. The record closes with the acoustic "Deya Goddess," dedicated to the moon goddess Diana. It's an appropriate coda to Now Is the Happiest Time of Your Life, one of the most pleasant records to spring from the fertile mind of rock's oldest and most overlooked hippie poet. AMG.
Electric Banana - More Electric Banana 1968
Cate Brothers Band - Cate Brothers Band 1977
The Cates were born in Fayetteville (Washington County) in 1942 and grew up in Springdale (Washington County). Although not born to a musical family, the Cates taught themselves how to play and were heavily influenced during their teenage years by Hawkins, whose ever-changing band, the Hawks, was at that time composed of the personnel who eventually became famous as Bob Dylan’s backup ensemble, the Band: pianist Richard Manuel, keyboardist Garth Hudson, drummer Levon Helm, and guitarist Robbie Robertson. The northwest Arkansas musical enclave was a diverse one, however, and the Cates heard not only renowned touring rock musicians but also worked with such local stars as vocalist Ken Owens while competing with Hawkins and Tolleson for a tough, knowledgeable regional audience. The Cates’ band was originally called the Del-Reys, and they sang Everly Brothers–style harmonies when they were young, before they developed their own vocal persona. Earl plays the guitar, while Ernie plays keyboard.
The Cates have remained close to the northwest Arkansas club and festival activities, which revolve around the University of Arkansas (UA) in Fayetteville and have expanded to accommodate the booming regional commercial developments related to the growth of Wal-Mart, Tyson Foods, and J. B. Hunt. But the Cates are also true to their musical roots in that theirs is a “country soul” unit, and they are masters of a kind of rhythmic eclecticism that is native to the cultural territory from which it emerged, bounded generationally by Bob Wills’s western swing and the Band’s blend of hillbilly simplicity and blues depth and incorporating both styles into their own music.
The Cates’ association with Helm resulted in Helm’s performing with the Cates after he temporarily dropped out of Bob Dylan’s wildly controversial international (and extensively documented) electric tour in the mid-1960s. In 1975, the Cates released two albums on the Asylum label (a powerful force in rock music at the time and one with which Helm had professional contacts), Cate Bros. Band and In One Eye and Out the Other, which led to the Cates touring nationally themselves. Asylum also released The Cate Brothers Band in 1977. The Cate Brothers Band earned the group critical acclaim for its distinctive sound and a solid reputation for expert musicianship. The album was produced by legendary Memphis guitarist Steve Cropper, a member of Booker T. & the MG’s and a mainstay of the celebrated Stax label throughout the company’s 1960s heyday.
Although long associated with Helm and Hawkins, the Cates have earned a devoted following of their own and have continued to release albums, including Radioland (1995), Struck a Vein (1997), and Cate Brothers Band Live (1999). Though they have never achieved the kind of far-flung success that was eventually accorded the Band (the Cates’ most famous recording is probably “Union Man” from The Cate Brothers Band album), the Cates remain a well-respected regional band among their peers in the music world and have carried the northwest Arkansas style of classic rock into the twenty-first century.listen here
segunda-feira, 13 de junho de 2011
Lou Donaldson - Midnight Creeper 1968