A seminal set from Ned Doheny – a lasting bit of California cool from
the 70s, and a record that's every bit as refreshing as its image on the
cover! The sound is tight, but never too slick – well-crafted
songwriting with equally well-crafted production and studio execution –
but somehow in a space that's far from the charts, too – which makes the
whole thing a really great discovery in music! Ned Doheny's got a way
of hitting an AOR vibe, but holding into more personal elements too –
and the vocals glide along with the music with the same charming vibe.By Dusty
BIG THANKS V. Fockas (Mr. Vagz) & V.Bertolis ( JazzVandals)
Track List :
1 Gabor Szabo And The California Dreamers - San Franciscan Night 2 Igor Nazaruk Quartet - Approval 3 Janko Nilovic - Trumpet Sketches 4 The Invaders - Lost Time 5 Ju Par Universal Orchestra - Flute Salad 6 Aura Urziceanu - Surpriza 7 Houston Person - Soul Dance 8 Hinbal Butss - In The Pocket 9 The Rob Franken Organ-Ization - Scintilla 10 Roberto Pregadio - Erika Seq.18 11 Connie Boerman - Yes Tonight 12 Soul Swingers - Ca - Ba - Dab 13 The Majestics - Funky Chick 14 The Jimmy Ed Trio - Baby , Baby , Oh Baby 15 Roy Lee Johnson - Boogaloo #3 16 Cover Up 17 Leroy & The Drivers - The Sad Chicken 18 Electric Machine - Fancy Good 19 Collage - Do What You Gotta Do 20 Nata - Tu Sais Que Je T'aime Bien (edit) 21 Dos Mukasan - Betpak dala 22 Michel Gonet - Flower Dance A 23 Embryo - Knast Funk
Chilly was a popular German Euro disco/rock band at the end of the 1970s and the beginning of the 1980s. Their most famous songs include hits like "Friday On My Mind",'Johnny Loves Jenny', 'Come to L.A.', 'Simply a Love Song', 'For Your Love' and 'Get Up And Move'.
The Song "For Your Love" was originally written by Graham Gouldman (later of 10cc fame) and performed by the Yardbirds
in 1965. Chilly's version was produced by the composer and author Bernt
Moehrle, who created with this song a new standard in Disco music in
the late 70s and early 80s. His version was used and remixed among
others by DJ Hell
on the album Munich Machine. It was also re-released in 2006 by the
French label D-Classics in an edited version called "4 Love" made by
Dylan Petit and in 2011 by Chocolate Puma feat. Colonel Red.
By the time Odetta Holmes recorded Southern Soul classic Odetta Sings in
1970, she'd already released a dizzying array of albums over a 13-year
career. Initially a rhythm and blues artist, she played a key role in
the American folk revival of the 1960s and became a leading figure in
the civil rights movement. While Odetta Sings included some softly spun
fusions of folk and soul (see her fabulous covers of Paul McCartney's
"Every Night" and James Taylor's bluesy "Lo and Behold") and
string-drenched ballads, for the most part it was an impassioned and
upbeat affair, containing such classics as "Mama Told Me Not To Come",
"Hit and Miss" and "Movin' It On". In hindsight, it's one of the
strongest soul albums of all time.
On demand jazz library album on the cult french label Neuilly. Really
pleasant album with Guy Boyer on vibes and arrangement. Includes the
deep modal jazz tunes like "Vibra conceptions", "Jazz on vibes" or the
on fast paced "Bongos and Sound" with brilliant drum breaks and killer
vibes solo. This is the Creasound version of the same release on Neuilly
called "Ballade pour un Vibra" with one extra track.
Polish composer, arranger, vocalist and keyboardist Piotr FIGIEL
(1940.04.13 - 2011.12.22) is probably best known for composing music for
other artists, movies, TV, radio and theatrical plays. But in the
1960's he was an active musician himself, and toured Scandinavia with
The Clivers. Later he would concentrate on studio work, as a
collaborator with other artists in one capacity or another or for
recording material for a wide variety of purposes.
Figiel also
recorded and released a couple of solo albums: Piotr in 1971 (also known
as Organ Hammondy) and Music in 1976. Of these two productions it's the
former that will be of interest to fans of progressive rock, especially
if you have a soft touch for jazzrock and fusion. The latter appears to
be more of a purebred pop production, and from some descriptions
apparently more of a compilation in spirit, but issued under Figiel's
name.
.
Hewitt was only sixteen when he recorded his first album Jawbones
in the auditorium of the Community School of Music and Arts in Moutain
View, California, where he was an artist in residence. Part of his
mission involved using music as a healing tool for those with
degenerative neurological conditions. Another part, no less personal:
the incessant need to document the songs and ideas welling up in his own
young brain. Jawbones, pressed at Custom-Fidelity Records in Hollywood, California in a run of fifty pieces, paved the way for a second album, Since Washington,
so named because the band had traveled to Washington, DC, to play for
Richard Nixon. For his sophomore album, Hewitt pressed one hundred
pieces.
Winter Winds, his third album, is the most “accessible” of the
three Hewitt records. This is not to say that his previous albums are
esoteric, just to say that this album appeals to those who might want to
dance while having their consciousness expanded. Of the series of 4/4
numbers contained within, “Bada Que Bash,” a modal piece in a
latin-tinged bag, stands out. Vocalists Sonia Valledeparas and Nina
Scheller seem as if they’re speaking in an exotic language, amidst the
band’s cavernous roar. “This is actually organized scan singing,”
Hewitt clarifies. “Instead of incessant, skittly “do wap du bop,” I
provided rhythmic words that sounded like a language.” Hewitt was not
yet twenty when “Winter Winds” saw its small press run disappear into
the ether, awaiting rediscovery decades to come.By Now-Again
Detroit? Chicago? Well, no not at all. This 1968 release comes from a
German band playing some lush and dynamic soul pop with an emotionally
exalted vocal style that reminds a bit of Tom Jones at times. The songs
range from powerfully onward grooving booty shakers to striking melodic
tunes with great chorus lines that enlighten your spirit. When you take a
listen you will realize these folks had a sense for the classic beat
music of just a few years prior to this release and they really manage
to lay down a steaming performance on this style actually already
outdated back then. But since THE SOUL EXPLOSION spice up everything
with a dark and brooding back street club atmosphere at the right
moment, they could do what they want and always sounded exciting and
fresh. I could not have told the difference between these krauts and any
popular British or North American act in their genre. There is passion,
sheer lust, a wild and animalistic drive and an ongoing groove that
will mesmerize you. Technically this is a really solid group that knows
to let loose when it is time to but mostly keeps the energy flow under
control. I am certain that 60s fanatics who love the soul and early rock
fusion of this era will go insane. It might be one of these typical
exploito bands that were only studio projects done by the same musicians
on several occasions for good money to be sold in the bargain bin to a
willing audience. Well, we rather do not think further into that
direction since the music that appears on “Soul fire” strikes your
deepest inner self and sets your spirit aflame. The melodies are amazing
and if you go and check the rhythms you will end up shaking without a
chance to escape the everlasting pulse. This should have been enormously
big. Think of later day ANIMALS, THE FOUR TOPS and the EQUALS all
thrown into a mixer on full throttle, you might get something of a
similar quality. Oh, Baby, c’mon shake it with me, yeah!
From Granadilla Music.
I Called Him Morgan is a 2016 Swedish-American documentary film written and directed by Kasper Collin which gives an account of the life of jazz trumpeter Lee Morgan and his common-law wife Helen Morgan, later responsible for his murder in February 1972.
Value :
Beautiful stuff – and a record we never tire of hearing! This album's a
sublime extension of the earlier Brazilian style of the Tamba Trio – in
a set that has them adding a fourth member, and picking up some cool
new sounds from producer Creed Taylor! The set brings the group's
earlier blend of bossa jazz and vocal harmonies into play with Taylor's
spacious sensibilities in the early days of CTI – that stretch when the
label was partnered with A&M Records, in a mode that also echoes
some of the best studio qualities of that imprint too! The songs are
longer than usual – nicely stretched out in a beautiful blend of jazz,
bossa, and voice – and tracks include a classic reading of Luiz Eca's
"The Dolphin", a great take on "Canto De Ossahana", and the tracks
"Flower Girl", "We & The Sea", and "Lemanja"
This LP from Stringtronics offers a genuinely psych/baroque
exploration, that could be considered the missing link between David
Axelrod’s “Song of Innocence” and Ennio Morricone’s Sergio Leone period,
with a light exotic touch. It features an astonishing dynamic 6-track
suite, written and conducted by the versatile virtuoso Barry Forgie.
Stringtronics also gives stunning ethno-lounge music from famous French
composers Nino Nardini & Roger Roger.
Οι The Thing, η θρυλική avant jazz/punk μπάντα των Mats Gustafsson, Ingebrigt Håker Flaten και Paal Nilssen-Love επισκέπτονται την Αθήνα για πρώτη φορά, για μια μοναδική ζωντανή εμφάνιση στο ΙΛΙΟΝ plus, την Κυριακή 26 Νοεμβρίου 2017, καλεσμένοι του Underflow Record Store & Art Gallery.
Η πώληση των εισιτηρίων έχει ξεκινήσει και γίνεται αποκλειστικά στο χώρο του Underflow Record Store & Art Gallery,
Καλλιρόης 39, Σταθμός Μετρό Συγγρού-Φιξ. Για περισσότερες πληροφορίες
και κρατήσεις, επικοινωνήστε μαζί μας τηλεφωνικά (2114039926) ή μέσω
email (info@underflow.gr).
After Galaxy-Lin Robbie van Leeuwen en Rick van der Linden started
another project named Mistral. They used a variety of uncredited
featuring vocalists for their recordings. Their first hit "Jamie", in
1977, featured Sylvia van Asten of Funny Face. Next year it was
succeeded by "Starship 109", featuring Marjan Schatteleyn and their last
hit "Neon City" featured Mariska Veres (the voice of Robbie's earlier
band Shocking Blue). In 1980 three more singles followed. "You're my
hero" features Sheen Milholland (who already had recorded "(You're) my
hero" as Sheen in early 1976). Their last single "I feel it" by the end
of 1980, featured Cheyenne-vocalist Julia Loko. Those last three singles
no longer were hits. This only mentions the vocalists that got known.
RIP Virgil Howe, the drummer in Little Barrie and the son of Yes guitarist Steve Howe, has died at the age of 42.
Over the course of a decade and a half and four albums, Little Barrie
have proven themselves to be masters of the power trio. They throw the
blues, hard rock, psychedelia, and good-old album rock in a blender and
end up with a brew that's both familiar and sounds sparklingly new.
Their fifth album, Death Express, is the first that Little Barrie
produced themselves, and it's their most immediate and atmospheric yet.
Recording at their own pace in their practice space, the bandmembers
were able to spend time honing their songs and sound to a fine point.
When they emerged, it was with a batch of songs that bludgeon the
listener with heavy riffs and thunderous drums, the moody tunes creeping
in the shadows while sporting a menacing snarl. Guitarist Barrie Cadogan
pulls out every trick he's learned along the way, but never plays an
excess note. Everything he does is in service to the song or the mood,
not to show off his formidable skills. Drummer Virgil Howe and bassist Lewis Wharton
are also unselfish sorts, and provide a rock-solid rhythm section that
also has plenty of flash when called upon to step to the front. The
album is long at 20 songs, but to the trio's credit, the energy never
flags.
Like a mighty boulder gathering speed as it rolls down a
mountain, the album alternates between window-rattling rockers ("You
Won't Stop Us" and the super hooky "Love or Love"), nasty laid-back
workouts ("I.5.C.A."), scathing prog funk jams ("Vulture Swarm"), and
strutting songs that sound like blueprints for a (really good) Black Crowes
comeback album (the title track and "Mind Mountain," which is built out
of their killer riff that serves as the theme to Better Call Saul). The
trio never falters or hits a bum note throughout the album, and if --
like in the past -- the focus is more on atmosphere than songcraft,
that's OK, because the atmosphere they create is so thick and fuzzy,
like a favorite old album from the early '70s lovingly cleaned up but
still a little scruffy. It's hard to rate Little Barrie
albums, since they are so close in sound and structure, but this might
be their tightest, toughest, and most impressive work to date.
Taste :
Little Barrie -
I.5.C.A
Little Barrie - You Won't Stop Us
Little Barrie - Death Express(@ Hostess Club Weekender
The mysterious Shades of Joy
recorded the wholly instrumental album The Music of El Topo in San
Francisco, the LP finding release on the Douglas label in 1970.
Co-produced by Alan Douglas (famous for his controversial posthumous work on some Jimi Hendrix
material), it's an odd but listenable mix of early jazz-rock fusion,
psychedelia, funk, and the kind of meditatively somber and pretty music
you might expect to hear on the soundtrack to a period drama.
And in
fact most of the compositions are credited to film director Alejandro Jodorowsky,
who was responsible for the early-'70s cult film El Topo. Fifteen
musicians are credited with playing on the album, the most noted of them
being occasional Grateful Dead/Jerry Garcia sideman Howard Wales
(on electric keyboards), though there are also numerous percussionists,
brassmen, and flutists; in fact, there are three combination
flutist/tenor saxophonists alone. (Jodorowsky himself does not play any of the music, however.) Martin Fierro
(who played flute, tenor sax, alto sax, and cowbells, as well as being
credited as a "scratcher") seems to have been the musician most involved
with the project, also doing the orchestration and horn arrangements.
The Music of El Topo, incidentally, is an entirely different album than
the Apple-issued El Topo soundtrack, for which Jodorowsky got composing credit for all of the music.By Allmusic
Recorded in San Francisco in 1970 on the Douglas label, this LP is
commonly associated with the visionary Western-on-acid epic film "El
Topo." It's an intriguing piece of urban jazz funk fusion.
And a somewhat confusing record. First, there are two versions – the
film score on Apple (which I hear is to be avoided) and this bay area
jazzfunk jam “inspired by the film” by the Shades of Joy on Douglas.
Alejandro Jodorowsky – the movie’s director is credited here with
writing all the music (which sounds improvised), yet appears to play no
instrument or take part in the session at all. But, of the people who do
actually play on this record, most noteable is funky keyboard legend
Howard Wales! The sound here ranges from all out funky get-downs, to
trippy, moody electric Miles Davis-esque excursions. Very highly
recommended.By Wax
Listen here to an exerpt from one of the more groovin’ tracks.
Το 1973 ο Κώστας Τουρνάς ηχογραφεί το δεύτερο προσωπικό του albumμε τον τίτλο
“Αστρόνειρα”. Οι επιρροές του απο το “ZiggyStardust” του DavidBowieήταν αρκετά εμφανείς από
το εξώφυλλο του δίσκου μέχρι και το περιεχόμενο του. Η θεματολογία του παρέπεμπε
σε αστρικές αναφορές και μελλοντικές προφητείες γύρο απ την τύχη του πλανήτη ενώ
το κομμάτι “Η Μηχανή του Χρόνου” μέσα απ αυτό επιλέχθηκε για να αποτελέσει το παρθενικό
του σόλο single. Το “Αστρόνειρα”
αλλά και το πρώτο προσωπικό του albumμε τον τίτλο “Απέραντα Χωράφια” θεωρούνται φωτεινά ορόσημα
για το εγχώριο ροκ και απαραίτητα για κάθε σοβαρή δισκοθήκη.
