The film was influential in the history of Indian cinema. It has been
widely identified as the first masala film, combining elements of the action, drama, romance, musical, crime and thriller genres.The masala went on to become the most popular genre of Indian cinema,and Yaadon Ki Baaraat has thus been identified as "the first" quintessentially "Bollywood film."It also launched the careers of several actors, as the commercial breakthrough Hindi film for Zeenat Aman and Neetu Singh, who became leading actresses of the 1970s,and as the debut film for Nasir Hussain's nephews Tariq Khan and Aamir Khan, the latter a child actor who grew up to be one of the biggest movie stars in Hindi cinema.
It is still remembered fondly for its Hindi soundtrack, composed by music director R.D. Burman.
Taste :
Asha Bhosle & Kishore Kumar - Lekar Ham Diwaana Dil
Peer International Library Limited was a London based production music library company that was established in the late 1960s by Dennis Berry (aka Peter Dennis). It was closely affiliated with the other library company Southern, - which was also run by Dennis Berry. They often shared releases and that’s why certain titles appear on both Peer and Southern catalogue. This album here, called Big hammer, was credited to a band called The Bigroup, but without a doubt it was some studio musicians group with a made up name for the album. And it was also released on Southern. The opening track “Big hammer” starts the album strongly. It’s a banging midtempo psych funk track with a hint of oriental vibe every now and then. A stronger oriental vibe comes with the next one, a downtempo sitar and flute driven mellow groover “Anna purna”. I’m not exactly sure if it actually is a sitar but sounds a lot of it. After the dramatic “Devil’s stronghold”, comes “Rolling”. It starts promisingly with a nice break, but then turns into a melancholic midtempo groover. Next up are two quite heavy downtempo psych funk tracks called “Beat norm” and “Heavy lift”. After them comes one of the best tracks on the album, “What’s coming”. It’s a strong upbeat track with heavy breakbeat drums and some wailing melodies on top. Then there’s again two mellow but psych heavy tracks called “Blow-suck blues” and “Gentle swell” before we get to the last track, “Bombilation”. “Bombilation” is a great midtempo organ driven psych funk groover with some electric guitar work (I’m still not a fan of those) and banging beats. All the songs are relatively long for a library record, all the tracks except one are over three minutes what makes it a more pleasant one to listen. ~ Written by Mista Tibbz.
In today's culture, one might presume the Bigroup to be some sort of avant garde transsexual troupe. But most likely in 1971, it stood for nothing more than "The Big Group". Then again, they do have a composition entitled 'Blow-Suck Blues', so perhaps they were ahead of their time after all? Musically, however, they sound more like a late 60s group than a pioneering cutting edge post-Swinging London progressive band from 1971. "Big Hammer" is, in effect - if not actually the case - an all instrumental film library psychedelic album with copious flute, sitar, surf guitar, and roller rink organ. There's not much in the way of compositional development, which would be typical of the incidental film music genre. Somewhat similar to the groups like Blue Phantom, Hungry Wolf, The Underground Set, Psycheground Group, or Fourth Sensation. Great stuff! ~ ashratom (RYM).
Underrated jazz prog from 1971. “Big Hammer” is an all instrumental exploitation psych album features fuzz and wah-wah guitar, organ, flute and sitar. Musically, they sound more like a late 60s group than a pioneering cutting edge post-Swimming London progressive band from 1971. Big Hammer has been much in demand by progressive rock collectors and one listen to it will tell why – pretty much every track is a killer ! ~ Doug Larson Imports.
Just a Poke is the first album by the band Sweet Smoke, released in 1970, engineered by Conny Plank.The song Baby Night displays the band's progressive jazz fusion style at
the time. The song can be divided into three main sections, the
highlights being the instrumental sections.
The village of Loosdrecht (in fact two: old and new Loosdrecht), a
lake-resort in the western part of Holland, half an hour by car from
Amsterdam, is a centre for waterskiing and sailing during the summer
months . Since 1958 recordshop owner Max Van Praag has been running
amateur contests there. As for the jazz part during the last couple of
years, big names in professional jazz have been making more and more
guest appearances at Loosdrecht for radio recording purposes. In 1970
Joop De Roo (head of the department of light music – NOS Radio) decided
that Loosdrecht should become the centre for a five-day radio and tv
jazz festival, a stage for the finest musicians from Holland, Europe and
the U.S.A. So between August 3 and 7, 1971, people could listen to
Clark Terry, New Dalta, Willem Breuker and the instant composers pool,
The Eero Koivistoinen Quintet, the Theo Loevendie Consort, Stan Getz,
Leon Thomas, Henny Vonk, Carl Schulze with Karel Reys and a host of
others.The proceedings were kicked off by the festival big band, formed
by Joop De Roo and the brilliant arranger/ composer Jerry Van Rooyen.
This band had been together for four days in a studio in Hilversum, the
home of the Dutch radio and tv, situated close to Loosdrecht. A
selection from the tapes made during the last three of these days is
presented on this album. Right from the start all the musicians really
felt good in this band and worked hard to get the best results. For
four days they had a ball playing the music that you can now enjoy.
J.B.W composed by Tony Inzalaco, arranged by Bora Raković
After the easy flowing latin rhythm is laid down with Rob Franken
on electric piano, Kiefer and tenorist Ferdinand Povel take solos.
First trumpet is Bailey, but Kiefer plays over the final chords. This
composition was dedicated to James Brown Woode, son of bass player
Jimmy Woode.
One of Finland's most famous prog rock bands. Founded in spring 1969 by guitarist Jukka Tolonen and drummer Vesa Aaltonen. Other members of the band came from Blues Section that had recently split up: bassist Måns Groundstroem and singer Frank Robson.
Tasavallan Presidentti released their debut album in 1969. They toured
in Sweden and England in the early 1970s and released three more albums
but split up in 1974.
An album that's every bit as cool as you might expect – a set that's
very much in the same Indo-jazz experiments as saxophonist Joe Harriott,
but with a slightly different approach overall! Although sitar is part
of the instrumentation, there's also a fair bit of conventional jazz
phrasing too – from trumpet, piano, flute, and alto sax – used in ways
that color in the rhythms with a fantastic east meets west sort of sound
– a bit like some of the Egyptian jazz of Salah Ragab, a quality that's
definitely echoed in the horn solos too. Sitar is played by Ustad Rais
Khan, who seems to get the most solo space – but there's also two
electric guitarists on the record, and the interplay between their
strings is great too. Manohari Singh plays sax, John Pereira plays
trumpet, Lucilla Pacheco plays piano, and Lesli Godinho handles drums –
and arrangements are by Sebastian D'Souza.
