Στην αρχή ήταν ντουέτο. Μετά έγιναν κουαρτέτο. Οι Barbara’s Straight Son
είναι punk–funk, είναι funk–punk, είναι electro–jazz–punk, είναι
jazz–punk–electro. Μας έδωσαν συνέντευξη. Θα την διαβάσεις σε λιγότερο
από τρία λεπτά. Ο χρόνος μετράει από τώρα! Η συνεχεια εδω
Την Τετάρτη 15 Απριλίου, οι Barbara’s Straight Son, οι Duoyu και οι Violent Cartoons θα μοιραστούν τη σκηνή του «Death Disco». Λένε πως θα στήσουν ένα μουσικό ντελίριο με δυνατούς ρυθμούς, εκστατικά ξεσπάσματα και ατμοσφαιρικές μελωδίες. Τους πιστεύουμε.
Barbara's Straight Son - Free will kicked in
Για περισσότερα γύρω από την μπάντα δείτε – ακούστε:
Jerry Butler's career spans four decades; he recorded more than 50 albums and his voice is one of the most distinguished voices in all of music. As soulful as ever, yet smooth as ice, his nickname "the Ice Man" epitomizes his demeanor -- and sound. In spite of his status as a true music icon, he remains humble. Butler moved from Sunflower, MS, to Chicago, IL, at the age of three during the mass migration of blacks from the South to the North. (He grew up in an area which is now known as the Cabrini-Green Housing Projects.)
Butler acquired his initial music lessons as a young boy while a member of the church choir in Chicago. Curtis Mayfield, who was three years younger, was also a member of the same choir. The two befriended each other and began a collaboration that would have an everlasting impact on music. The twosome joined up with brothers Arthur and Richard Brooks and Sam Gooden to form the R&B group the Roosters. In fact, the Brooks brothers, Gooden, and a female had migrated to Chicago from Tennessee, and were called the Roosters & a Chick. But when Butler and Mayfield joined them, the group became simply the Roosters. In 1957, the quintet's name was changed to Jerry Butler & the Impressions. Butler scored his first hit with the Impressions in 1958 with the timeless ballad "For Your Precious Love." (He'd written the lyrics to the song when he was just 16.)
That same year Butler and the Impressions cordially split, and Butler began his solo career. He released his first single, "Lost," on the Abner label. It peaked at number 17 on the Billboard R&B charts. Jumping over to Vee-Jay in late 1960 where his career blossomed, Butler had his first hit as a solo artist with "He Will Break Your Heart." The single popped to the top of the charts at number one and stayed there for seven consecutive weeks. In 1961, Butler bounced back with two Top Ten singles: "Find Another Girl" and "I'm a Telling You." In 1967, he signed with Mercury and teamed up with the production duo of Kenny Gamble and Leon Huff. His work with these two master producers and songwriters resulted in some classic recordings, including the outstanding album The Ice Man Cometh. The album featured one superb track after another, including two number-one singles ("Hey, Western Union Man," "Only the Strong Survive") and two Top Ten singles ("Never Give You Up," "Are You Happy"). Always known for being a crooner, "Hey, Western Union Man" revealed to many that Butler was more than capable of singing up-tempo songs.
In 1971, Gamble and Huff formed their own label and subsequently Butler formed a creative workshop to help provide material for his forthcoming albums. Material that did not make his albums, he marketed to other artists. In the spring of 1971, Butler hit the Top Ten with the number-eight single "If It's Real What I Feel," which was written by Chuck Jackson (the younger brother of Rev. Jesse Jackson). Butler continued his hit-making tradition with "Ain't Understanding Mellow," a classic soul-ballad duet with Brenda Lee Eager that peaked at number three on the Billboard R&B charts. Butler scored a number-six single with Eager with a remake of the Carpenters' "(They Long to Be) Close to You" and a solo hit with a remake of the O'Jays' "One Night Affair," which was also his last song to crack the Top Ten. by Craig Lytle
"Topsy" was a 1938 instrumental release for bandleader Benny Goodman, written by Edgar Battle and Eddie Durham, which became a number fourteen pop hit.
In 1958, drummer Cozy Cole recorded the song and issued it in two parts as a single; The A-side ("Topsy, Part 1") made it to #27 on the Billboard Hot 100 chart, while the B-side ("Topsy, Part 2") reached #3 on the Hot 100 chart and #1 on the Billboard Rhythm & Blues chart, staying atop the latter for six weeks.
Turkish rock is weird. Whether it's the psychedelic wanderings of Erkin Koray or the wild-haired boogie of Bunalim, the folks in Istanbul just have their own unique approach to rockin'. Hardal, basically a footnote in Turkish rock history, have now had their debut album reissued by the indefatigable Shadoks label, and it's a worthy nugget of late-'70s prog. Had it been heard in the West at the time of its initial release in 1979, it would likely have seemed a little behind the times; there are plenty of stinging guitar leads and weird Theremin-like synths, and the rhythms are pretty pumping, but it sounds more like a product of the '60s, or early-'70s Krautrock, than the dawn of the '80s. Still, the female vocals on "Unuttum" are quite lovely, and those guitars (by Sukru Yuksel and Cahit Kukul, for those who are curious) do really tear it up. The six-minute title track (which translates to "Where From? Where To?") is a drifting, psychedelic journey with electric piano backing a raw, soulful vocal and some fuzzed-out guitar soloing, plus a long and weird synth interlude in the middle. Other tracks, like "Zor" and "Baska" offer a melodic, poppy take on boogie, with more acid-fried six-string action and oddly smooth vocals. This is decidedly not for everyone, though fans of Turkish rock will doubtless enjoy it.
Sonor Music Editions presents a reissue of The Cast Five's highly collectible Popsound N. 1, originally released in 1971 on Flirt Records, the Italian label responsible for Paese Sotto Inchiesta (1971) by Peymont/Braen and Underground Mood (1972). This is obscure library music by a studio group composed of Ernesto Nicelli, Stellio Subelli, and Pasquale Castiglione. Tons of psychedelic grooves, including those on "Diatomea" and "Gospel 71", and killer breakbeats on "Speedball Experience." Generally, the whole record features some of the best b-boy breaks to be found on a library LP. This reissue is pressed on 180-gram vinyl and housed in a heavy cardboard sleeve replicating the original edition. Limited to 500 copies.
Little Tony was born in Tivoli, Italy, but was a citizen of San Marino, where his parents were born, and never applied for Italian citizenship. He formed a rock and roll group with his two brothers, Alberto and Enrico, in 1957, naming himself Little Tony in emulation of Little Richard. The following year, the group were signed by Durium Records, who released a series of covers of American rock and roll songs by them in Italy. In 1959, the Italian singer Marino Marini, when in London, recommended the group to TV pop show producer Jack Good. Good visited Italy to meet the group, was impressed, and signed them up to appear in his British TV show Boy Meets Girls.
They made their first appearance on the programme in September 1959, and released their first single in the UK, "I Can't Help It" - the 11th single of their career in Italy - on the Decca label soon afterwards. For their third British single, Good recorded the group in London for the first time, and the resulting single, "Too Good", written by Doc Pomus and Mort Shuman, reached # 19 on the UK singles chart in January 1960, their only chart success in Britain.[1] The group continued to appear regularly on TV shows in Britain until 1962.The group first revisited Italy in 1961 to appear at the Sanremo Festival (in which they performed the song "24.000 baci" in couple with Adriano Celentano and ranked second) returning more permanently the following year.Little Tony then worked as a solo singer, having his first #1 in Italy with "Il ragazzo col ciuffo" in 1962. He began working as a movie actor, appearing in over 20 movies in Italy, and becoming a star in the musicarelli film genre.
He also continued to record regularly through the 1960s, one of his biggest hits being "Cuore matto", no. 1 for nine consecutive weeks in 1967.It sold in excess of a million copies and was awarded a gold disc in May 1967.Another song of great success was "Riderà", which sold over a million copies in 1966.He formed his own record label, Little Records, in 1969. In 1975 he recorded the album Tony canta Elvis, which pays tribute to his master, Elvis Presley.He continued to record and perform successfully in Italy, despite suffering a heart attack in 2006.Little Tony died of lung cancer on May 27, 2013, at the age of 72.
One of the most beautiful albums ever recorded by DC flutist Lloyd
McNeil – and one of the grooviest, too! Lloyd's work is always amazing –
stretched-out, spiritual, and filled with life – but this time around,
there's a definite groove to the record that's undeniable – an increased
sense of rhythm, yet one that's still extremely creative, especially in
the mellower moments – which are among some of the most compelling that
McNeil ever recorded. The tunes were originally scored for a dance
group, and feature a core combo with Lloyd on flute, some great Fender
Rhodes from Eugene Rush, and sublime bass and drum patterns – mixed with
some haunting added woodwinds, played by a combo that also features the
legendary Andrew White. The whole record has a beautifully rhythmic
quality, filled with throbbing, modal, soulful grooves
