Δευτέρα, 25 Οκτωβρίου 2021

Willie Bobo - Juicy 1967 (Verve)

 

Label : Verve

Value :

Hard soulful Latin from the great Willie Bobo! The record's an extremely tasty blend of cuts that mix hard Latin grooving with a swinging 60s pop feel – all filtered through the crossover genius of late 60s Verve. There's lots of great boogaloo groovers, shing-a-ling rhythms, and a tight no-nonsense approach to percussion 

Taste :

Willie Bobo - Roots

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By Electric Looser

Πέμπτη, 21 Οκτωβρίου 2021

Alan Moorhouse – The Big Beat Vol.2 (KPM)

Label : KPM

Value :

The big beat here is plenty darn funky – but in some really weird and wonderful ways too – thanks to the genius talents of the mighty Alan Moorehouse, the legendary British maestro featured on this rare sound library album for KPM! Moorehouse is even more compelling than some of his funky contemporaries on the sound library scene – because he's not only got a great way of cooking up a short, simple, soulful groove – but he also puts the instruments together in really unusual ways, often to create sounds that veer past their simple origins, to make the grooves sound even greater! This album's a sound library masterpiece all the way through – the kind of set that makes you realize why this under-exposed genre of music is regarded so highly by modern beatheads – thanks to Moorehouse's use of organ, keyboards, funky drums, and a fair bit of acoustic guitar – quite unusual for a KPM set, but all the more compelling. 

Taste :

Alan Moorhouse - Pop Pastime


Alan Moorhouse - Pop Mandolin

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By Electric Looser



Παρασκευή, 15 Οκτωβρίου 2021

Lucio Battisti ‎– Amore E Non Amore 1971 (Ricordi)


Label : Ricordi 

Value : 

If Lucio Battisti was Italy’s answer to France’s Serge Gainsbourg, then Amore E Non Amore is his own Histoire De Melody Nelson, a concept album that’s widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there’s a rocky ‘non-love’ side of the album, which has songs about obsession and adultery, and a ‘love’ side of dreamy, prog-rock instrumentals.

Amore E Non Amore was to be a watershed moment for Battisti. His label considered it to be too experimental and advanced for the Italian audience, and refused to release it. They were wrong: it instead set Battisti on a liberating course of artistic freedom and widespread success, and gifted the world one of Italy’s greatest musical exports.By LightintheAttic

Taste :

Lucio Battisti ‎– Dio Mio No


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Κυριακή, 10 Οκτωβρίου 2021

Gert Wilden & Orchestra – Schulmädchen Report 1996 (Crippled Dick Hot Wax!)



Label : Crippled Dick Hot Wax!

Value :

The tag end of the 1960s and the beginning of the 1970s brought a river of permissiveness into film, with sexploitation getting a pretty good foothold in American drive-ins and cheap theaters -- not porn, but softcore weirdness involving lots of young people running around naked in whatever circumstances could be concocted. As good as America's breed of low-rent filmmakers got with this, though, they couldn't hold a candle to the Europeans -- particularly the Germans, who all but turned softcore into a science. It may well be that America retreated to cheap horror movies in self-defense (and a case could be made that the English also beat a retreat, assuming a hardcore literary stance). And so, Germany produced Schulmäedchen Report (Schoolgirl Report), its many sequels, and its ilk. There were a lot of them, many of which wound up exported, badly dubbed, and run to death. If they didn't have a soundtrack by Gert Wilden & His Orchestra, then they weren't worth bothering with -- well, at least according to the liner notes here. Going by the evidence at hand, the liner notes might well be right. Wilden's music is a wonderfully demented pastiche that takes its inspiration from all kinds of sources -- "Dirty Beat" swipes from Led Zeppelin, but chucks in bits of acid rock, crazed Farfisa organ, and drum work that sounds like tap-dancing piledrivers. Other cuts teeter on the edge of pure lounge, there's bits of smoky jazz, R&B, crazily mangled surf music, whatever else can be jammed in and will stick -- listening to this is like dealing with weather in Vermont: wait a couple of minutes and it'll change completely. One moment it's lolling saxophone, and the next it's James Last on amphetamines. It all fits, it's often hilarious, and it is absolutely worth keeping on hand. The album producers have also provided multiple liner notes (in English, German, and very small type) that explain the background of the films, provide biographical information about Gert Wilden, and have a little fun with the audience. Lobby cards and stills are scattered liberally throughout so that booklet begins to resemble a photo essay on nudism (the booklet front and the tray card feature nude stills as well; no disguises evident here.) The music, however, remains interesting long after the images have become boring.

Taste :

Gert Wilden & Orchestra – Hot Dance


Gert Wilden & Orchestra – Girl Face


Gert Wilden & Orchestra – Sexy Girls


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By Electric Looser

Κυριακή, 3 Οκτωβρίου 2021

Emma Dorgu - Roverman 1979 (Polydor)


Label : Polydor

Value :

In 1979, Emma Dorgu decided it was time to act. He’d torn up the Lagos live scene with The Thermometers and conquered the airwaves with the single, ‘World People’. But there were injustices afoot, not just in Nigeria, but in South Africa and Zimbabwe and across the continent as well, and he felt that something needed to be done. Roverman was his politicized call to action. Blackman Akeeb Kareem lent him the instruments and let him rehearse in his sitting room. Dorgu sets his stall out early in the reggae-tinged ‘Free My People’ calling for freedom for South Africa, freedom for Zimbabwe, indeed, freedom for all. Thankfully political injustice hadn’t rid Emma completely of his urge to get on down. The New York ghetto funk of ‘Roverman’ and ‘Loving’ and the straighthead boogie of ‘Afro Fever’ leaven the message with a funky beat and an irresistible pull towards the dancefloor. On Roverman Emma Dorgu has achieved that that rarest of beats, an album that challenges your mind while it speaks to your feet. Protest music has never sounded so funky. 

Taste :

Emma Dorgu - Lovin

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By Electric Looser

Τρίτη, 28 Σεπτεμβρίου 2021

Anne Briggs – The Time Has Come 1971 (CBS)

Label : CBS

Value :

Anne Briggs’ first album collected largely unaccompanied traditional songs, but this, her second LP, features her debut ventures into the realm of songwriting, the title track being her first ever composition. An astoundingly accomplished piece of music, ‘The Time Has Come’ (later covered by Pentangle) gives a taster not only of Briggs’ writing skills but also manages to place that effortless, timeless vocal of hers within a very personal framework.

Singing self-penned material was a fairly unusual practice (in the folk community at least) back when Briggs first started writing alongside her then-partner Bert Jansch, in the ‘60s, so to hear such a remarkable folk voice bringing new music to life must have had quite some impact. Then there’s the guitar playing: Briggs has said herself that Bert Jansch’s fingerpicking was a revelation to her – a liberation from the Woody Guthrie-style chord strumming the folk scene was so used to. This album features Briggs’ own considerable picking skills, with the complexity of the guitar arrangements making for a perfect counterbalance to her uncommonly even voice. Utterly beautiful, breathtakingly pure British folk.

Taste :

Anne Briggs - Standing On The Shore

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By Electric Looser

Τετάρτη, 22 Σεπτεμβρίου 2021

Traffic ‎– Welcome To The Canteen 1971 (Island Records)


Label : Island records

Value :

Welcome to the Canteen is the first live album by English rock band Traffic. It was recorded live at Fairfield Halls, Croydon and the Oz Benefit Concert, London, July 1971 and released in September of that year. It was recorded during Dave Mason's third stint with the band, which lasted only six performances.

The track list includes one song each from the first three Traffic albums; two songs from Mason's first solo album, Alone Together; and "Gimme Some Lovin'" from Steve Winwood's former band, the Spencer Davis Group. (Winwood's organ and Mason's rhythm guitar are conspicuously out of sync for part of "Gimme Some Lovin'".)

In the band's native United Kingdom, the album was a surprise flop, the first in a series of albums by the group that would fail to make an appearance in the charts. In the USA, however, it was a solid success, hitting number 26 in the charts and yielding the single "Gimme Some Lovin' (live)", which reached number 68 in the Billboard Hot 100.

Although regarded as a Traffic album, it was originally released without the name "Traffic" anywhere on it; credited instead to the seven individual musicians. Nonetheless the Traffic logo appeared on the cover (on the back, in this case) as on all of their albums. Most later issues retain the original front cover with its individual crediting, but credit the album to Traffic on the spine.

In 1970, Traffic toured in support of their comeback album John Barleycorn Must Die, with a quartet line-up of Steve Winwood, Chris Wood, Jim Capaldi, and Ric Grech. In November, the group played a series of concerts at the Fillmore East, and recordings from these concerts were compiled into a live album consisting of "Who Knows What Tomorrow May Bring", "Glad", "Pearly Queen", "40,000 Headmen", "Dear Mr. Fantasy", and "Can't Find My Way Home".This album was set for release in early 1971 but cancelled for unknown reasons, though Side A eventually appeared as bonus tracks on the 1999 reissue of John Barleycorn Must Die.

By the time of their next tour, Traffic had expanded with the additions of Dave Mason, Jim Gordon, and Reebop Kwaku Baah. The band only played six dates, two of which – their opening performance at Fairfield Hall, Croydon and a London benefit for Oz – were recorded and mixed to become Welcome to the Canteen. Mason was keen to take this version of Traffic to the United States, but Winwood was only interested in doing these six dates. Mason said, "It's Stevie's band, so it's up to him."

Welcome to the Canteen would be the last album Traffic would release under the band's North American distribution contract with United Artists Records their next album The Low Spark of High Heeled Boys would be issued by Island Records, who released Traffic's records in the U.K. and who (in late 1971) had recently established operations in North America.

Taste :

Traffic - 40,000 Headmen



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By Electric Looser