sábado, 23 de abril de 2022
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The Triangle was a self-described Western Blues trio from El Paso, Texas who moved to L.A. in the late sixties and found gigs playing the Sunset Strip clubs before releasing their first album in 1969. The music is Texas psych with an undercurrent of soul dominated by blazing fuzz and slide guitars.listen here or here
domingo, 17 de abril de 2022
Best known for his original rendition of "Cry Baby," later a major item in Janis Joplin's repertoire, Garnet Mimms' pleading, gospel-derived intensity made him one of the earliest true soul singers. His legacy remains criminally underappreciated since for some reason he never scored another hit on the level of "Cry Baby," but his output from the early to mid-'60s -- a blend of uptown sophistication and earthy, impassioned vocals -- has earned comparisons to Sam Cooke and Jackie Wilson from hardcore soul aficionados. Mimms was actually born Garrett Mimms in Ashland, WV, on November 26, 1933. He was mostly raised in Philadelphia, and began singing in church as a boy; during his teen years, he performed with several area gospel groups, including the Evening Stars, the Harmonizing Four, and the Norfolk Four, with whom he cut his first record in 1953.
Mimms subsequently served several years in the military, and upon his release, he returned to Philadelphia in 1958 and formed a doo-wop quintet called the Gainors, whose ranks included Sam Bell and onetime Evening Star Howard Tate (later an acclaimed solo singer in his own right). The Gainors recorded singles for several labels over the next three years, including Red Top (later picked up by Cameo), Mercury (from 1959-1960), and Tally Ho (1961). Failing to produce a hit, Mimms left the group along with Bell and put together Garnet Mimms & the Enchanters, which were completed by Charles Boyer and Zola Pearnell. Thanks to Dick Clark's American Bandstand program, Philadelphia had become a haven for teen idols, and Mimms took his group to New York in 1963 in search of a more receptive scene. There they met songwriter/producer Bert Berns, who signed them to United Artists and teamed them with another songwriter/producer, Jerry Ragovoy. Mimms quickly struck gold with the proto-soul performance of "Cry Baby," a smash hit that reached the pop Top Five and topped the R&B charts in 1963. The follow-up, a cover of Jerry Butler & the Impressions' "For Your Precious Love," hit the pop Top 40 later that year, as did the flip side, "Baby Don't You Weep." Mimms and the Enchanters parted ways in 1964; the group recorded separately with a new lead vocalist, while Mimms cut solo sides for UA steadily over the next few years. Ragovoy's productions became increasingly polished, mirroring the shift in R&B spearheaded by Motown, yet Mimms' vocals retained all the fire of his gospel training, making for a combination that was fairly unique for the time. Minor hits like "It Was Easier to Hurt Her" and "I'll Take Good Care of You" (the latter Mimms' last Top 40 hit in 1966) didn't perform nearly as well commercially as their quality seemed to indicate. In 1967, United Artists moved him to their Veep subsidiary, where "My Baby" was another inexplicable flop (it, too, was later covered by Janis Joplin on Pearl).
Mimms subsequently followed Ragovoy to Verve, where he recorded four singles to little response; ditto for his brief stint at MGM. Mimms did make one last minor chart appearance in 1977, recording for Arista as Garnet Mimms & the Truckin' Company; the disco-funk single "What It Is" was produced by Brass Construction mastermind Randy Muller. Mimms retired from the music business permanently after becoming a born-again Christian.listen here or here
Sydney band McPhee, which formed in 1970, released no Singles and only one LP during its brief life, but the group has long enjoyed a cult following, and rock historian Chris Spencer describes it as "one of the most collectible (and enjoyable) Australian Albums of its time".
Jim Deverell and Benny Kaika were originally from New Zealand, and Deverell and Joyce had previously worked together as session players backing artists like Digby Richards, The Delltones, and Little Sammy & The In People. Faye Lewis had done session singing and had been a member of Luke's Walnut, the group that replaced Tully as the house band for the musical Hair in early 1970. English-born Terry Popple had been a member of late 60's UK band Tramline, who issued a couple of Albums on the Island label. He linked up with McPhee shortly after the group formed when he traveled to Australia in early 1970, and the band began working on the Sydney club and wine bar circuit. McPhee was strongly influenced by the acid-rock and progressive styles coming from the UK, as indicated by their covers of songs done by acts like Spooky Tooth and Julie Driscoll, Brian Auger & The Trinity, as well as the emerging west coast American sounds like Neil Young. In this respect, they operated in the same general area as contemporary groups like Melissa and Galadriel, although on record they were probably the hardest-hitting outfit of the three.
In 1971 they went into Martin Erdman's World Of Sound studio in Sydney to record an album for Erdman's independent Violet's Holiday label. The sessions yielded seven tracks that were favorites from the band's live repertoire. The two originals were the lengthy jazz-rock instrumental Out to Lunch and five cover versions, including 'heavy' renditions of Spooky Tooth's "The Wrong Time", Neil Young's "Southern Man", Ritchie Haven's "Indian Rope Man" and The Beatles' "I am The Walrus".
The album's piece de resistance was the surging rendition of "Indian Rope Man" (a Richie Havens song done in the style of the cover by British soul/R&B act Julie Driscoll, Brian Auger & The Trinity) highlighted by a stunning Hammond organ solo by Jim Deverell.
Released with little promotion in early 1972, the album sank without trace. Perhaps only 500 copies were ever pressed, which places it with Albums like Company Caine's fabled Dr Chop as one of the rarest of Aussie LPs of that era.listen here or here
One of the most well-known rock groups from Continental Europe, Denmark's Savage Rose recorded a wealth of intriguing and eclectic progressive rock in the late '60s and '70s. In their early work, one hears faint echoes of the Airplane, Doors, Pink Floyd, and other psychedelic heavyweights combined with classical jazz and Danish-Euro folk elements. Their arrangements rely heavily on an incandescent, watery organ that sounds like nothing so much as psychedelic aquarium music. The most striking aspect of the band's sound, however, was the vocals of lead singer Annisette. Her childish wispy and sensual phrasing can suddenly break into jarring, almost histrionic wailing, like a Janis Joplin with Yoko Ono-isms, and eerily foreshadows Kate Bush's style. Stars in their native land, Savage Rose also achieved a bit of underground success abroad, and several of their albums were released in North America. Between 1968 and 1978, the group released nine albums, moving from vaguely psychedelic rock and the heavily gospel-influenced Refugee to the nearly classical ballet score Dodens Triumf and the folky, nearly all-Danish Solen Var Ogsa Din (their first eight albums were sung entirely in English).
Always a radical band -- the Black Panthers even invited the group to play at a benefit for Bobby Seale after hearing one of Savage Rose's records -- they took the extremely radical step of withdrawing from the studio entirely by the end of 1970s to focus on using their music to support leftist political causes. Although they continued to make music and perform, they were often heard at benefits and free concerts, actually playing in Lebanese hospitals, schools, and refugee camps at the P.L.O.'s invitation. They eased back into recording in the early '80s with Danish-language efforts on small labels, eventually getting back into the mainstream music business with the established distribution. Their mid-'90s album, Black Angel, was their first English-language recording in many years, and a substantial Danish hit. By this time the only remaining members from the original band were Thomas Koppel and Annisette (now his wife); Koppel also records and composes symphonic music as a solo artist. AMG.listen here or here
While Ray Barretto's congas have graced more recording sessions than virtually any other conguero of his time, he has also led some refreshingly progressive Latin jazz bands over the decades. His records often have a more tense, more adventurously eclectic edge than those of most conventional salsa groups, unafraid to use electronics and novel instrumental or structural combinations, driven hard by his rocksteady, endlessly flexible percussion work. This no doubt reflects Barretto's wide range of musical interests and also the fact that he came to Latin music from jazz, rather than the usual vice versa route for Latin-descended musicians. Indeed, he has said that he learned how to play swing-style before he came to master Latin grooves.
Puerto Rican by extraction, Barretto took up the congas while stationed in Germany during an Army hitch. He began working with American jazz musicians upon his return to New York, eventually replacing Mongo Santamaria in the Tito Puente band for four years, beginning in the late '50s. Barretto made his debut as a leader for Riverside in 1962 and scored a crossover hit (number 17 on the pop charts) the following year on Tico with "El Watusi" (in tandem with a dance craze of the time). He tried to modernize the charanga sound with injections of brass, covering rock and pop tunes of the time as several Latin artists did then. However, Barretto made his main mark in the '60s as a super session player, playing on albums by Gene Ammons, Cannonball Adderley, Kenny Burrell, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader, and several other jazz and pop albums. In moving over to the Fania label in 1967, Barretto began to achieve recognition as one of the leading Latin jazz artists of the day, eventually becoming music director of the Fania All-Stars. In the '70s, he was incorporating rock and funk influences into his music -- with only limited success -- while recording for Atlantic, and in 1981, he made a highly regarded album for CTI La Cuna, with Puente, Joe Farrell, and Charlie Palmieri as guest players. He became music director of the Bravisimo television program and took part in the multi-idiom, all-star, anti-apartheid Sun City recording and video in 1985. In 1992, he unveiled a new Latin jazz sextet, New World Spirit, which made some absorbingly unpredictable albums for Concord Picante. AMG.listen here or here