segunda-feira, 26 de outubro de 2020
There are sadly way too many stories out there similar to the tale of the boys in Zuider Zee. A Memphis-based power pop band that started recording in the early 1970s, Columbia Records released their one and only album in 1975, a self-titled LP that should have been big, considering the success of other power pop like Cheap Trick, Badfinger and The Raspberries. The band also curiously opened for the Sex Pistol in Memphis – one of only a handful of U.S. shows before Johnny Rotten and his pals saw their band implode spectacularly just a few shows later. But, Columbia never even bothered to release a Zuider Zee single to radio. Combine that label apathy with a bizarre stabbing of their bassist as he caught thieves trying to break into their van to steal equipment, Zuider Zee dissolved by the late ‘70s.
Thankfully, the saviors of the forgotten and criminally under looked, the folks behind Light in the Attic Records, have re-released a lost Zuider Zee gem; Zeenith is a completely remastered set of a dozen songs recorded by the band between 1972 – and- 1974. None of these songs have ever been officially released until now.
The album manages to seamlessly bridge the Glam Rock world with Power Pop. Though a handful of tracks sound a little dated, like the organ-drenched opener “Haunter of the Darkness,” for the most part, the album boasts a timeless quality making this record just as relevant more than four decades later than it should have been if it got a proper release in the ‘70s. The band impressively wields razor sharp pop hooks as easily as they toss out harmonies that would make The Beatles jealous. This stellar set is completed with a dense booklet of photos and liner notes from writer/musician Alec Palao putting the band’s (should have been) legacy in proper perspective. It may have taken decades, but the band is finally getting the attention they deserved all along. newnoisemagazine.com.
A Rare 1LP Loss Leader Anomaly. The arrival of this single LP Loss Leader was a bit unusual, and curious that it rarely showed up in any of the WB’s inner sleeve and brochure advertisements, so it’s been largely forgotten about over the years. Which is a shame, because it’s an excellent off-beat release, and you can enjoy it. Many of the artists here are of the low-profile variety – as Little Feat was still new in 1970 and Peter Green was freshly on his own after leaving Fleetwood Mac. So, the quietly progressive acoustic offerings that dot Non-Dairy Creamer, along with the lack of big star power, lend this album its own subdued vitality and charm. Rosebud is a short-live group featuring Jerry Yester (Modern Folk Quartet, Lovin’ Spoonful) and soon to be ex-wife Judy Henske; Ohio Knox features Peter Gallway, late of the 5th Avenue Band; Zephyr is young Tommy Bolin’s first signed band; Ron Nagle is produced by Jack Nitzsche and Tony Joe White was just on Letterman recently performing with The Foo Fighters.listen here
Trombonist Phil Ranelin was one of the Detroit jazz scene's unsung heroes, releasing several excellent, politicized albums that blended post-Coltrane avant-garde jazz, post-Bitches Brew psychedelia, hard bop, funk, and African rhythms. Ranelin was born and raised in Indianapolis, and later moved to New York and then Detroit, where he started out as a session man for Motown artists like Stevie Wonder. In 1971, along with saxophonist Wendell Harrison, Ranelin co-founded a band, magazine, and record label conglomeration known as the Tribe, which used experimental jazz as a vehicle to raise African-American political consciousness. That year, Ranelin also issued his first album as a leader, Message from the Tribe. A fine clarinetist and tenor saxophonist, Wendell Harrison has been an important force in Detroit during the past several decades. He began on clarinet when he was seven, started playing tenor in high school, and studied with Barry Harris. In 1960, he moved to New York, playing with Jack McDuff, Elvin Jones, Sonny Stitt, Grant Green, and Sun Ra, in addition to being in Hank Crawford's band for over four years. In 1970, Harrison moved back to Detroit, started doing session work, and became a jazz educator. He has formed several labels (Tribe, Rebirth, and WenHa), recording frequently and utilizing such sidemen as Leon Thomas, Marcus Belgrave, Kirk Lightsey, Charles Tolliver, and (with his Clarinet Ensemble) James Carter. He has several standouts in his catalog. Among them are An Evening with the Devil (1975), Reawakening (1985), Forever Duke (1991), Eighth House: Riding with Pluto (2002). In the fall of 2012, Luv N' Haight-reissued the highly regarded 1981 album Organic Dream. AMG.listen here
domingo, 18 de outubro de 2020
quinta-feira, 15 de outubro de 2020
Tamburlaine's Say No More it's the debut album by this New Zealand group was very much a folk-rocky relic of the late hippie era. The briskly strummed guitars, ebullient vocal harmonies, and relentlessly sunny lyrical glow of some cuts are like those of guys who've taken Traffic's "You Can All Join In" as their manifesto. Because it's all done without a pinch of irony, it'll drive those with a limited taste for feel-good rock up the wall and out the door. If you do enjoy gung ho folk-rock with a can-do rural flavor, though, it's well-executed, but derivative. There are echoes of not only Traffic at their most pastoral, but also Crosby, Stills & Nash's harmonizing on songs like "Wooden Ships," as well as (less expectedly) some of the cartwheeling constructions of Yes -- a band that did have some folk-rock influences, though those haven't been widely acknowledged. Medieval melodic influences also pop up, as do, perhaps, the very lightest shades of the folkiest moments of the late-'60s Beatles. AMG. listen here
The Detroit Emeralds are reminiscent of funky the Four Tops; while their lead didn't have Levi Stubbs' mesmerizing baritone, their music had a similar feel. Centered around their R&B hit "You Want It, You Got It," this LP of the same title illustrates another side of Detroit. The title track smokes from the first second to the fade. "Feel the Need in Me" is slower but as funky -- no doubt their roots (Little Rock, AR) gave the guys that Southern slant that was absent from most Detroit recordings. The most charming cut for many is "Baby Let Me Take You (In My Arms)" with its sloop beat and cool strutting rhythms. A few ballads are mixed with dancers like "I Bet You Get the One You Love" for a well-rounded set. An English recording firm has reissued this LP with another Detroit Emeralds LP, Do Me Right. Two for the price of one. AMG. listen here
Several personnel changes later, they returned as The Satisfactions around ‘66 with a string of 45s on the Smash and Lionel labels. Some mighty fine and feisty tracks were included among these sides, including the urgent ‘Use me’ (love this!) and ‘Take it or leave it’. They finally hit paydirt with ‘This Bitter Earth’ in 1970, reaching nº36 on the R&B Charts. This was consolidated by the radiant, midtempo ‘One light, two lights’, peaking at nº21 a few months later. A gorgeous track, by the way. They changed their name to Satisfaction Unlimited a year later, the personnel now standing at Lorenzo Hines (lead tenor), James Isom (second tenor), Earl Jones (baritone), and Fletcher Lee (bass), linking up with Hot Wax in ‘72.
The years spent fortifying their sound certainly paid dividends. listen here
quarta-feira, 14 de outubro de 2020
Founded in Cadolzburg, Bayern, Germany in 1978 - Alex Schmierer recorded under the revived moniker in 2008. One of the many German bands to release a single album on a private label and watch it grow into a collector's dream. Carol of Harvest played a dreamy blend of Progressive Rock and Folk with female vocals that might be compared with Mellow Candle and early Clannad mixed with Jane, Pentangle and Renaissance. The music has the added edge of long arrangements with Moog synth and acid guitar solos, and in reality has little to do with Krautrock.
An interesting minor soul performer, Barbara Mason initially focused on songwriting when she entered the music business in her teens. As a performer, though, she had a huge hit in 1965 with her self-penned "Yes, I'm Ready" (number five pop, number two R&B), a fetching soul-pop confection that spotlighted her high, girlish vocals. One of the first examples of the sweet, lush sound that came to be called Philly soul, she had modest success throughout the rest of the decade on the small Arctic label, reaching the pop Top 40 again in 1965 with "Sad, Sad Girl."
In the early and mid-'70s, Mason toughened her persona considerably, singing about sexual love and infidelity with a frankness that was uncommon for a female soul singer in songs like "Bed and Board," "From His Woman to You," and "Shackin' Up." Sweet soul continued to be her groove, and she continued to write some of her material. But the production, as it was throughout soul in the '70s, was more funk-oriented, and at times Mason would interrupt her singing to deliver some straight-talkin' raps about romance. Curtis Mayfield produced her on a cover of Mayfield's "Give Me Your Love," which restored her to the pop Top 40 and R&B Top Ten in 1973; "From His Woman to You" and "Shackin' Up" were also solid soul sellers in the mid-'70s. After leaving Buddha Records in 1975, she only dented the charts periodically, with "I Am Your Woman, She Is Your Wife" (1978), "Another Man" (1984), and a couple of other singles.listen here
El Ritual is well-crafted progressive/psych bluesy rock with nice organ, some Tull like flute here and there, nice guitars, with softer and harder rock/prog/blues-rock passages, sometimes with rather hard rock vocals, and a few times Uriah Heep-kind of vocal harmonies, with lyrics in English. The fourth track, “Satanas” is a more experimental, theatrical track mixed with bluesy rock, and a long drum solo, a song about being the devil. “Muerto E Ido” has a slight Canterbury touch. This deserves to be heard by all prog/psych collectors. It sounds as interesting as many English & American examples.
El Ritual was a Mexican band born in Tijuana, Baja California, founded in the late 60s by musician and singer Frankie Barreño; who was accompanied by Gonzalo Hernández on bass; Abelardo Barceló on drums, and vocalist and keyboardist Martín Mayo.
They arrived in the Federal District in 1971, months before the celebration of the historic Avandaro festival, in which they participated without much success since they had to face serious audio and lighting problems. The ''Rock and Wheels Festival'' held in 1971 in Avándaro, Mexico, was like a kind of Mexican Woodstock, a historic rock concert held on September 11 and 12, 1971, near the Avándaro Golf Club, in the State of Mexico, in Mexico. The arts festival celebrated life, peace, love, ecology, the arts and experimental drugs and has been compared to the Woodstock Festival for its psychedelic music, countercultural art, overt drug use, exercise of free love and Due to the enormous attendance of people who participated in it, it is said that between the two days that the festival lasted, the audience was between 100,000 and 500,000 attendees.listen here
sexta-feira, 9 de outubro de 2020
This group formed in 1965 as the Bubbles and made their first single in 1966 -- two versions of hits by the Rolling Stones and the Shakers (an Uruguayan group).
Upon returning to Brazil (they saw the Isle of Wight Festival in England), they decided to re-formulate themselves in a more Brazilian fashion and became A Bolha. To their chagrin, they were already well-established as the Bubbles and as a dance group. On their first gig after returning from London, the ballroom was crowded with 5,000 people, in the beginning; by the end, there remained 500. Moreover, the bill at the door said: "The Bubbles back from the Isle of Wight!"
But they retained the nerve and swagger to affirm their new selves. And in 1971 came their single "Sem Nada," with co-author, playwright Geraldo Carneiro, who is also a partner of various artists such as Egberto Gismonti, Tom Jobim, Astor Piazzola, Wagner Tiso, and Eduardo Souto Neto, a well-known conductor and producer. Working with Ivan Lins, Simone, and others since the '70s, the latter was a runner-up in the VI Festival Internacional da Canção (the famous Brazilian version of the Eurovision Song Contest) and A Bolha won the Best Group Award.
The first LP, Um Passo à Frente, was recorded in 1973, and their second, É Proibido Fumar, in 1977. The only constant member in the band's career was guitarist Renato Fronzi Ladeira, son of Renata Fronzi, a well-known Brazilian actress. A Bolha members played with illustrious Brazilian artists like Gal Costa and Erasmo Carlos. They also fragmented into many other groups, such as A Cor do Som, Herva Doce, and others. AMG.