martes, 12 de septiembre de 2017
BOOKER T. & THE MGs - The Very Best OF [USA instrumental rhythm & blues and soul 1962-71] 2007 Stax Records
The band’s name is a combination of organist Booker T. Jones’s first names and the acronym for “Memphis Group”, MG. Other members were Al Jackson Jr. (drums), Steve Cropper (guitar), and Lewis Steinberg (bass guitar) who was replaced by Donald “Duck” Dunn in 1963.
As well as playing on and producing a large amount of records, working with vocalists like Otis Redding, Wilson Pickett and Sam & Dave, they were successful as a band in their own right, with hits like “Green Onions” (1962) and “Hip Hug-Her” (1967).
The band was effectively disbanded in the early 1970s, when both Cropper and Jones had left the label. A planned reunion in 1975 did not happen, as Jackson was murdered in October that year. The three remaining members did reunite several times since the late 1980s, often with Jackson’s cousin Steve Potts serving as a drummer.
Booker T & The MG's were inducted into the Rock & Roll Hall of Fame in 1992.
lunes, 11 de septiembre de 2017
HANG LOOSE with the VARCELS JUSTICE JLP-147. Here is another ultra rare garage band LP produced by JUSTICE.
Based in Battle Creek, Michigan, the Troyes existed from 1965 to 1968. Although the band produced only two singles during their time together, they cut enough material for an album that unfortunately failed to surface. Thank goodness the shelved tapes were not tossed in the trash, and at long last here's the complete audio history of the Troyes.
VVAA - Thirteen O'Clock Flight To Psychedelphia (Plato & The Philosophers) [USA garage psych 1966-67] 1998 Cicadelic
From Moberly, Missouri. This band formed in 1962 as the Checkmates but changed name to Plato and The Philosophers in 1965 and lasted until 1970. The Thirteen O'Clock Flight To Psychedelphia (CD) retrospective features the band's story, from which the personnel is confirmed, and features fourteen tracks: the It 45, and many unreleased goodies - two versions of Thirteen O'Clock..., Wishes, the proposed third 45 Doomsday Nowhere City / I Knew, and seven others from 1968 onwards, which include some excellent heavy acid-punkers. Other artists feature on the CD - Something Wild, Smoke (Houston's ex-Nomads) and the Fortunes.
Publicado por Woody en 11:50
After the 1976 release of "Inside the Shadow", the group decided to change their name to J Rider (after the second cut on the Anonymous LP) and pursued a similar rich vein of impeccable songwriting, but this time adding more hard rock to the mix, resulting in a fantastic sounding album that sadly went unreleased at the time. The excellent reissue label OR Records first unearthed the tapes and put out a small edition of LPs in 1996, and we are now there's this new and deluxe edition of this gem, complete with new sleeve art.
tracks 1-6 : J RIDER "No Longer Anonymous" LP (1977-78)
tracks 7-16 : RON MATELIC & FRIENDS "Lunar Dust" (recorded throughout the 1990s with most of the original members of Anonymous on each track)
lunes, 14 de noviembre de 2016
Originally issued in 1973 by Epic, Keep Me Comin' was Oklahoma guitar firebrand Jesse Ed Davis' (who began his career at 16 with Conway Twitty in 1964) third and last album for the label. It featured a killer band featuring drummer Jim Keltner, keyboardist Jim Gordon, and bassist Bob Glaub with a slew of side players featured in various places on horns (Clifford Scott, George Bohannon, Jerry Jumonville, and Howard Johnson among them), and backing vocals and notable cameos by Merry Clayton, Bonnie Bramlett, Leon Russell, and many others. The music walks a line between electrified blues ("Big Dipper"), Southern fried rocked up R&B ("She's a Pain" and "Where Am I Now"), greasy funk (Andre Williams' "Bacon Fat") freaky soul-jazz ("Natural Anthem" and "6:00 Bugalu"), country-rock ("Ching, Ching China Boy" -- a song about the racial epithets tossed his way when he was young -- and "Keep Me Comin'"). In other words, from all appearances it's an all over the place mess. Interestingly, that is exactly what most of the music press thought and it sank like a stone. Hearing it over 30 years later, there is an undeniable appeal to this music. Davis may have been self-destructive, but he was wildly adventurous musically, and he had the chops to pull it off. He could play with anyone, and his approach was deeply roadhouse blues and soul-jazz. His approach to funky was relaxed and natural, and nothing feels forced here at all. If anything, this may be the best of his studio records for Epic because the groove from track to track is constant, loose, and organic. "6:00 Bugalu" in particular is monstrously funky, the horn section is just popping, and the bassline is pure bad nasty! Davis' chunky rhythm fills and changes get underneath all tinny and nasty. His solo, with full-on phase shifter is economical, tight, and in the cut. There are certain production elements that don't date so well, but these are such minor considerations that they don't even matter. If anything, Keep Me Comin' is a record that really deserves to be reconsidered for its sheer musical merit. If anything, Davis' forgotten legacy, includes sessions with Russell, Bob Dylan, Gary Lewis & the Playboys, Ry Cooder, Taj Mahal, and John Trudell, to name a handful; he was George Harrison's guitarist at the Concert for Bangladesh as an ill Eric Clapton's replacement. Davis' work deserves to be reconsidered and this set is part of the evidence.
Danny & Dusty wasn't actually a duo, but a supergroup of sorts comprised of players from groups associated with L.A.'s paisley underground. Danny & Dusty consisted of Dan Stuart of Green on Red and the Dream Syndicate's Steve Wynn -- along with members of their bands -- plus Sid Griffin, Stephen McCarthy, and Tom Stevens from the Long Ryders. The gathering of friends recorded one album in February 1985 over the course of a single, notoriously booze-soaked weekend. Appropriately, the effort was titled Lost Weekend. It would assume legendary status among the followers of the paisley underground, though certainly many of the players here are from more of a roots rock, country-punk bent. The sleeve notes hail the effort as an amalgam of "friendship, fear, drunkenness, death, and elusive salvation," a fair enough assessment of the loose, boozy set. The LP consisted of seven Stuart/Wynn compositions, plus a cover of Bob Dylan's "Knockin' on Heaven's Door," and the sound varied from country-pop to blazing barroom rock. In the mid-'80s, Danny & Dusty also played many shows, primarily around L.A. and with different lineups, before eventually disappearing.