One of Chico's classic recordings for Impulse, and a weird batch of
tracks that have an off-beat sound to them that's hard to categorize.
The group includes Ernie Hayes on organ, Arnie Lawrence on alto, Larry
Coryell on guitar, and a guest appearance by Archie Shepp on piano.
On that night in 1972, the funk gods must have descended on a small club
in Indianapolis called the 19th Hole Night Club. Fifty years have
passed since that miraculous live performance. Finally, "In The Rain"
has been released as the 50th Anniversary Edition at 45RPM.
The intimate performance space that set the scene for Billy Wooten Live at The 19th Hole Night Club lives on in this 7” single from P-VINE, celebrating 50 years since the recording of The Wooden Glass. Billy Wooten’s trademark vibraphone would make its way through venues of all shapes and sizes in his native Indianapolis, and the active crowd chatter between tracks highlights a working musician early in his career. However, as Wooten’s playing cuts through the crowd on album highlight and a-side “In The Rain”, the band feel at one with the elements. Wooten’s mallets dispense delightful high tones, organs sound warm and cleansing while guitars offset with acid stabs of thunder. B-side “Day Dreaming” keeps the band rolling with a latin groove that rounds off the 50 year anniversary celebration in style.
This is the
last 50th title of the 45rpm vinyl marathon to commemorate P-Vine's
45th anniversary.
Taste :
The Wooden Glass Featuring Billy Wooten - In The Rain
Romantic Attitude is strong, rich and tender! Defined by
Fitch’s heartfelt vocals as they hurl out sonic highs and intense lows,
whilst soft backing vocals coax the gentle elements out. A heavy
melodic bass line guides the song giving depth and texture as a
contrasting jangly loop cuts through and punctuates. A gorgeous track!
Anadol is a psychedelic synth folk project by Gözen Atila, a Turkish
sound artist and photographer based in Berlin. Her third album Uzun
Havalar is based on collective improvisations of middle eastern folk
songs called „uzun hava“. They turn out as rich, atmospheric synth
ballads. A diverse roster of improvising musicians creates their
fascinating complexity. Anadol recorded them during extensive sessions
in Istanbul. You can hear drummers laughing and playing guitars,
composers howling, announcements in French and screams in no language,
record collectors playing oscillators, and trumpets through spacious
echoes.
Guerssen Records present a reissue of Dave Bixby's Ode To Quetzalcoatl,
originally released in 1969. Since its discovery in the late '90s, Dave
Bixby's legendary $2000 private press album from 1969 is considered by
all serious record collectors as the king in the loner/downer folk
genre. After being involved in '60s Michigan folk and garage-rock bands
such as The Shillelaghs and Peter & The Prophets,
Bixby started playing acoustic guitar and experimenting with LSD. After a
year of drug abuse, he felt broken. Starting a soul-searching,
spiritual journey, he wrote Ode To Quetzalcoatl and most of the material for his second album, Harbinger's Second Coming (1970) in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded Quetzalcoatl
using an echo-laden four-track machine in a flat's living room. The
sound is lo-fi and sparse: just acoustic guitars and some occasional
harmonica and flute, added to Bixby's haunting, emotional vocals,
spiritual lyrics, and solid songwriting. The opening cut, the eerie and
painful "Drug Song" sets the mood perfectly for the rest of the album
which contains more tormented titles like "666", "Lonely Faces", "Open
Doors", "Secret Forest" -- never has an acoustic folk album sounded so
intense.