lördag 17 juni 2017

The Rolling Stones - Ladies and Gentlemen (Live US 1972) (Released in Japan June 2017)


300:- (SHM-CD Limited Remaster Edition + Sample Card. Live från US Tour 1972 för support av deras då nya album "Exile on Main St".)

Ladies and Gentlemen: The Rolling Stones is a concert album featuring the British rock band The Rolling Stones that was first released in 1974. Directed by Rollin Binzer and produced by Binzer and Marshall Chess, it was filmed in 16mm by Bob Freeze and Steve Gebhardt of Butterfly Films during four shows in Fort Worth, Texas at the Tarrant County Convention Center and Houston, Texas at the Hofheinz Pavilion, from the band's 1972 North American Tour in support of their classic 1972 album Exile on Main St.


Production:
The film was blown up to 35 mm with a "fluid gate" process for theatrical release. The concerts were recorded in 32 tracks and the soundtrack was mixed in Twickenham Studios in England. In its initial U.S. theatrical run it was released in "Quadrasound" which was a variation of the four-track magnetic sound format. Instead of the usual right, centre, left and single surround tracks, Quadrasound fed right and left screen speakers and right and left (split surround) speakers. The objective of the quadraphonic sound recording was to transform the 650 seat motion picture theatre auditorium into the auditory phenomenon of a 10,000 seat rock 'n roll arena. The film began before most audience members even realized it: a black screen and quadraphonic audience noise fooled theatergoers into accepting the recorded ambience as coming from their own venue, intensifying the aural intimacy when the Stones began to play.

The film was sold by The Rolling Stones as a tax-incentive based venture capital investment. Nine investment groups competed to acquire the film and the winning group formed Dragonaire Ltd., a one-film distribution company that was formed to "four-wall" the film throughout the United States. In accordance with the Rolling Stones' contractual requirements, Dragonaire Ltd. proceeded to rent theatres on a "four-wall" basis for limited engagements in major markets (commencing at the Ziegfeld Theatre in New York City on 15 April 1974) and sell tickets not only at the theatre but also through concert ticket vendors such as Ticketron for the limited engagements. The objective here was to create a limited access single venue event that fans could access from any ticket seller in town.

The Quadraphonic presentation of Ladies and Gentlemen... required a 44 JBL driver sound system (four systems were built and used by Dragonaire in its road show performances of the film). Each sound system was capable of generating 3300 Watts RMS, and was transported to each venue in a 14 ft. bed truck. Played at 100 dbA in evening and midnight performances, the sound track had to be mixed by a sound engineer based on the number of people in the audience in order to achieve optimal clarity. Sound engineers accompanied the road show presentations.

The film was played in limited road show engagements during which advertising was stopped (want ads were used after the first two markets) because the word of mouth for the film increased attendance every day throughout the run. Limited engagements were conducted in New York, Boston, Philadelphia, Atlanta, Houston, Chicago, Miami, and Los Angeles before the picture was sold to Plitt Theatres which released the film in a "flat" screen monaural version.

Prior to 2010, after initial showings in 1974 the movie was only commercially available in the early 1980s in Australia on VHS by Video Classics, of which bootleg copies had since been circulated. The Rolling Stones re-claimed the film from No Moss Partners, the original investment limited partnership in the late 1990s, and held off from re-releasing it until 2010. On 16 September 2010, a digital re-mastered version of Ladies and Gentlemen: The Rolling Stones was shown in select theaters in the United States, presented by Omniverse Vision, Eagle Rock Entertainment and NCM Fathom. Re-mastered in HD digital, the film also features an introduction by Mick Jagger, interviewed in summer 2010 at the London Dorchester Hotel. 

This segment features Jagger reflecting on memories of the tour during this legendary time, and the status of The Rolling Stones. This film was released at selected Showcase Cinemas in UK the following day, on Friday 17 September 2010. On 12 October 2010, it was issued on DVD and Blu-ray. Supplements to the concert footage includes tour rehearsal footage from the Montreux Jazz Festival, a 1972 Old Grey Whistle Test interview with Mick Jagger, and a 2010 interview with Mick Jagger. During the performance, Styrofoam Frisbee-like discs with the Stones 'Tongue' emblem were thrown out into the audience to add to the excitement and enhance the realism as if you were actually attending the concert.

01. Intro
02. Brown Sugar
03. Bitch
04. Gimme Shelter
05. Dead Flowers
06. Happy
07. Tumbling Dice
08. Love In Vain
09. Sweet Virginia
10. You Can't Always Get What You Want
11. All Down The Line
12. Midnight Rambler
13. Bye Bye Johnny
14. Rip This Joint
15. Jumpin' Jack Flash
16. Street Fighting Man

onsdag 7 juni 2017

The Steve Miller Band - The Joker (US 1973)


300:- (SHM-CD Limited Remaster Edition, US 1973. Steve Miller's mest sålda album)

"The Joker" is a song by the Steve Miller Band from their 1973 album The Joker. It is one of two Steve Miller Band songs that feature the nonce word "pompatus". The song topped the US Billboard Hot 100 in early 1974.


More than 16 years later, in September 1990, it reached number one in the UK Singles Chart for two weeks after being used in "Great Deal", a Hugh Johnson-directed television advertisement for Levi's, thus holding the record for the longest gap between transatlantic chart-toppers. This reissue of "The Joker" also topped the Irish Singles Chart, the New Zealand RIANZ Singles Chart,[4] the Dutch Nationale Top 100 and the Dutch Top 40.

The first line of the lyrics is a reference to the song "Space Cowboy" from Miller's Brave New World album. Following lines refer to two other songs: "Gangster of Love" from Sailor and "Enter Maurice" from Recall the Beginning...A Journey from Eden.

During the song, Steve Miller references The Clovers' 1954 song "Lovey Dovey" when he sings "You're the cutest thing that I ever did see / Really love your peaches, wanna shake your tree / Lovey dovey, lovey dovey, lovey dovey all the time".

The song is noted for its wolf whistle played on a slide guitar after the "lovey dovey" parts and the "some people call me Maurice" part.

The line "some people call me Maurice / 'Cause I speak of the pompatus of love" was written after Miller heard the song "The Letter" by The Medallions. In "The Letter", writer Vernon Green made up the word puppetutes, meaning a paper-doll erotic fantasy figure; however, Miller misheard the word and wrote pompatus instead.

The Joker is, without question, the turning point in Steve Miller's career, the album where he infused his blues with a big, bright dose of pop and got exactly what he deserved: Top Ten hits and stardom. He also lost a lot of fans, the ones who dug his winding improvs, because those spacy jams were driven by chops and revealed new worlds. The Joker isn't mind-expanding, it's party music, filled with good vibes, never laying a heavy trip, always keeping things light, relaxed and easygoing. Sometimes, the vibes are interrupted, but not in a harsh way -- the second side slows a bit, largely due to the sludgy "Come in My Kitchen" and "Evil," the two songs that were recorded live but lacking any kinetic energy -- but for the most part, this is all bright and fun, occasionally truly silly, as on "Shu Ba Da Du Ma Ma Ma Ma." 

This silliness, of course, alienated old fans all the more, but that sense of fun is both the most appealing thing about The Joker and it set a touchstone for the rest of his career. Here, it's best heard on the terrific opener "Sugar Babe" and, of course, the timeless title track, which is sunny and ridiculous in equal measure. If nothing else is quite up to that standard in terms of songs -- certainly, it's not as jammed-pack as its successor, Fly Like an Eagle -- The Joker nevertheless maintains its good-time vibe so well that it's hard not to smile along...provided you're on the same wavelength as Miller, of course.

“Come On In My Kitchen” recorded live at Tower Theater, Philadelphia.
“Evil” recorded live at Aquarius Theater, Boston

Steve Miller – Guitar, vocals
 Gerald Johnson – Bass, vocals
 Dick Thompson – Keyboards
 John King – Drums

01. Sugar Babe 
02. Mary Lou 
03. Shu Ba Da Du Ma Ma Ma Ma 
04. Your Cash Ain't Nothin But Trash 
05. The Joker 
06. The Lovin' Cup 
07. Come On In My Kitchen 
08. Evil
09. Something To Believe In


tisdag 6 juni 2017

Hearts and Flowers - Now is The Time For (US 1967)


270:- (24-Bit Limited Remaster Edition, US 1967 (Album som gavs ut av Capitol Records 1967. Låter ungefär som The Byrds, mkt välgjort och välljudande album. Har nu givits ut av "Pink Pink Records, Korea.)

This debut album is an overlooked precursor to country-rock, echoing the late-'60s Byrds, Stone Poneys, Gene Clark, and most especially, as Brian Hogg points out in his lengthy liner notes, the Dillards. Earnest vocals and conscientious harmonies on this subdued, acoustic, and countrified take on folk-rock, with mild Eastern/psychedelic dabs of autoharp. The songs mix original tunes with covers of Donovan, Tim Hardin, Hoyt Axton, Kaleidoscope, and Carole King. There's little to criticize, but it lacks the innovative spark that characterizes the best folk-rock of the time.


Hearts and Flowers were one of the most eclectic groups on the Southern California folk-rock scene in the '60s, skewing more to the folk side of the equation and often adding flourishes of psychedelia and, most importantly, bluegrass and country music. The group was founded by guitarist Larry Murray, a Georgia native who had come to California in the late '50s and played with a bluegrass group called the Scottsville Squirrel Barkers. At various points, the Barkers' membership included Chris Hillman and Bernie Leadon, and they recorded a rare album for Crown in 1962 before breaking up. Murray went on to play in several other bands, including another one with Hillman called the Green Grass Group, before forming Hearts and Flowers with vocalist/guitarist Dave Dawson and vocalist Rick Cunha, who had worked together as a folk duo in Hawaii. 

The trio played the Los Angeles club scene, sometimes by themselves, sometimes with a rhythm section, and eventually landed a deal with Capitol. Their debut album, Now Is the Time for Hearts and Flowers, was released in 1967 and echoed work by the Byrds, the Stone Poneys, and the Dillards. Its eclectic originals and wide-ranging taste in covers meant that it didn't sell very well, however, and at Capitol's urging, the group underwent an overhaul, adding Terry Paul and Dan Woody to flesh out their live sound, though both left before the group completed its second album. So too did Cunha, who was replaced on guitar by Leadon. The group's sophomore effort, Of Horses, Kids and Forgotten Women, was released in 1968 and featured more elements of pop and psychedelia than their debut, in spite of the fact that the band had taken to playing folk-rock arrangements of country tunes almost exclusively at their live shows. Of Horses didn't sell either, and the group disbanded not long afterward. Murray and Cunha both went on to release solo country-rock albums.

01. Now Is The Time (Larry Murray)  01:28
02. Save Some Time (Marty Cooper)  02:40
03. Try For The Sun (Donovan Leitich)  02:42
04. Rain, Rain (Larry Murray)  02:33
05. The View From Ward 3 (Marty Cooper)  03:00
06. Rock & Roll Gypsies (Roger Tillison)  02:20
07. Reason To Believe (Tim Hardin)  02:10
08. Please (Mark Freedman/David Feldthouse)  03:00
09. 1-2-3 Rhyme In Carnivour Thyme (Rick Cunha)  02:10
10. I'm A Lonesome Fugitive (Liz Anderson-Casey Anderson)  02:45
11. Road To Nowhere (Gerry Goffin-Carole King)  03:28
12. 10,000 Sunsets (Hoyt Axton)  02:33

måndag 5 juni 2017

Samuari - Selftitled (Ex."WEB", Progressive Rock UK 1971)


280:- (24-Bit Limited Remaster Edition, UK 1971. Bra progressive rock från 1971. Mini LP'n släpptes 2006 och är nu mycket svår att hitta.)

Samurai was previously known as Web. Web released three albums, Fully Interlocking (1968), Theraphosa Blondi (1970), and I Spider (1970). The first two featured American singer John L. Watson, and were released on Deram. I Spider was released on Polydor and Watson was replaced by future Greenslade vocalist/keyboardist Dave Lawson. The Deram albums are said to be more pop/psychedelic offerings, but I've not heard them (a little hard to come by and apparently neither reissued on CD). I Spider is considered the best and where Web's reputation in progressive rock circles rests on. But for some odd reason, when Tom Harris left and they brought in two new wind players, Tony Roberts and Don Fay, they were now called Samurai. Legal reasons? Did Tom Harris have the rights to the Web name? I really can't say, since finding info on bands like this is often very difficult to come by.


Once Web became Samurai, the band was no longer recording for Polydor, but for a far more obscure label, Greenwich. Finding an original LP these days, of course, is practically, forget it, find the CD reissue (AIRMAIL in Japan  had reissued it 2006). Honestly I really think Samurai is by and far the finest album Dave Lawson ever played in. I even highly recommend this to those who aren't much for Greenslade. Greenslade's music could end up as cheesy at times to some listeners, Samurai avoided all of Greenslade's cheesy-tendencies. Let's not forget Dave Lawson's voice. On those Greenslade albums his singing was often high pitched and strained, here he has a much more pleasant voice in Samurai which really fits the style of music just great.


I'm sure you might detect some of that future Greenslade, but you don't have Dave Greenslade's keyboard style, and you also get treated with vibraphone and various wind instruments (saxes, mainly) and nice organ work throughout. This is early '70s, where many progressive rock bands were still making song-based material, and Samurai was one of them. In fact, I really think the reason progressive rock got such a bad reputation later on was many people felt too many bands abandoned writing great songs in place of showing off their instrumental abilities and how complex they can make their music. I really think this group could've ended up being better known were it not for the label they were on. It's hard for me to describe the album on a song to song basis, but I'll pick out some of my favorites. "More Rain" is a nice, laid-back piece with nice use of flute. I really like the acoustic passages too. I get reminded a bit of Jade Warrior here. "Maudie James" and "Holy Padlock" are just plain great catchy songs, while "Give a Little Love" has a more aggressive edge. I really like the sax and organ work. "Face in the Mirror" is one of those songs that really grew on me big time, I really like the mellow nature of this song. "As I Dried the Tears Away" is a wonderful, epic closing piece with some great creative passages to go with it.


Samurai broke up after this album. No surprise given they recorded for such a short-lived and obscure label as Greenwich, and probably no longer had the finances to continue one. But that didn't stop Dave Lawson. Ex-Colosseum members Dave Greenslade and Tony Reeves, with ex-King Crimson and Fields drummer Andy McCulloch brought in Dave Lawson to form Greenslade, who managed four albums between 1973 and 1975, before throwing in the towel at the right time (just right before punk rock came in).

Samurai is truly another great, lost gem of early British progressive rock. I really like the jazzy feel that goes with it, and this is one progressive rock album you can't call "pretentious" (and we all know every prog rock detractor out there calls this kind of music "pretentious"). It's nothing but a collection of great songs with interesting use of instruments (organ, wind instruments, and the way the vibraphone is integrated in the music, rather than using it during jazzy solos like many other bands did at the time). I really highly recommend this album! 

In 1971, British band Web abruptly changed its name to Samurai and released this self-titled set, its sole contribution to the prog rock canon. Adding a second brass player and somewhat lightening its sound, the band still continued down many of the same jazzy pathways as its predecessor. However, across seven tracks Samurai meanders down rather diverse byways. "Saving It Up for So Long," for instance, bundles along like Caravan, its bluesy guitar inflections offset by the brass' improv jazz stylings. Even more R&B-inflected is "Give a Little Love," boasting wah wah guitar, a stomping riff, and some quite sassy sax. In contrast, "More Rain" is as soft, warm, and shimmering as a summer drizzle, and gives credence to the group's inclusion in the Canterbury scene. Its polar opposite is the bustling "Holy Padlock," which trundles down a rural road with the farmland flying by, until the song's shifting time signatures shake up the ride. But it's the eight-plus-minute "As I Dried the Tears Away" that's Samurai's centerpiece, a constantly mood-altering and style-twisting extravaganza that brings to mind King Crimson on acid making a regal procession around a breathtaking musical realm. Thoroughly unique, Samurai apparently committed hari-kari after this album was released. Singer/keyboardist Dave Lawson would eventually rise again with Greenslade, his restrained vocals on this set barely hinting at what was to come. This digipack reissue features this savory album's original artwork, and its reappearance will well please all prog rock fans. 

01. Saving It Up for So Long  (03:45) 
02. More Rain  (04:27) 
03. Maudie James  (04:55) 
04. Holy Padlock  (04:44) 
05. Give a Little Love  (03:40) 
06. Face in the Mirror  (06:44) 
07. As I Dried the Tears Away  (08:13) 

Kadavar - Abra Kadavar (Retro Heavy like early 70's hardrock)


250:- (Japan 24-Bit Limited Remaster Edition. Enda albumet som släppst i Japan. Finns endast som ordinär "plast-CD" men med ett bonusspår. Gillar du hårdrock från tidigt 70-tal så gillar du garanerat den här Tyska gruppen. De har släppt totalt 3 album.)

The world’s leading scientists recently declared in unison: time travel can no longer be considered fiction but reality! Neither did their certainty originate from hypothetical thought experiments, nor from years of testing in isolated laboratories. It was the record of a rock trio from Berlin, Germany, that had dropped into the professors’ laps out of the blue and led them to proclaim joyfully: “Warm, intense, authentic – doubtlessly a gift from bygone times!” 



It was already with 2012’s eponymous debut album that KADAVAR casted a spell on all fans of solid riff-driven yet doom-like 70’s hard rock à la BLACK SABBATH or PENTAGRAM. Marrying this with the spacy psychedelic approach of early HAWKWIND and mixing in a distinct own touch while preserving their icon’s warm vintage charm can doubtlessly be considered the trio’s key to success – astoundingly high vinyl sales and support shows for bands such as SLEEP, SAINT VITUS, PENTAGRAM and ELECTRIC WIZARD as well as stunning festival gigs at “Stoned From The Underground”, “Yellowstock” and “Fusion Festival”, among others, underline KADAVAR’s status as one of the scene’s most exciting acts. 



Carrying the experiences of dozens of played live shows as a source of inspiration inside them, KADAVAR entered the timeless space of their studio end of last year to procure supplies for their ever growing fan base that was starving for more – in the form of their second full-length album and debut on Nuclear Blast. “After last year’s final show had been played in mid-December, we started writing new songs”, drummer and studio owner Tiger recalls. “We’ve already had a couple of finished tracks in May 2012, but those were eventually released on a split-LP with AQUA NEBULA OSCILLATOR in November 2012, which is why we started at square one again. As we knew that there was no procrastination and no going back for us, we sat down for two weeks straight to finish composing with total commitment. We’re perfectly happy with the outcome – I’d even say that “Abra Kadavar” comprises the best compositions we’ve created to date. The songs are more diversified, the ideas feel more spontaneous. Moreover, we’ve tried to capture much more of our live energy, which is why we’ve recorded almost everything all together in one room, with the amps turned up to the max – solely the vocals and a handful of guitar solos were added afterwards.”

There’s time until April 12, 2013 to grow a full beard, resole your platform shoes and iron your bell-bottoms. From then on, KADAVAR invite us to escape the 21st century’s soulless musical mishmash once again by entering the realms of “Abra Kadavar“ – down-to-earth handmade classic rock from a time when music still used to be true art!

01. Come Back Life  05:02
02. Doomsday Machine  04:47
03. Eye Of The Storm  06:04
04. Black Snake  04:24
05. Dust  04:12
06. Fire  05:18
07. Liquid Dream  04:12
08. Rhythm For Endless Minds  04:16
09. Abra Kadabra  03:02

Bonustrack
10. The Man i Shot (Japan Only)  07:04


HD upplösning/fullskärm/Volymen på max

måndag 29 maj 2017

Janis Joplin - I Got Dem Ol' Kozmic Blues Again Mama (Klassiker US 1969)


200:- (24-Bit Limited Remaster Edition. Utgången utgåva. Original klistermärke medföljer. Bör finnas i samlingen.)

The greatest white female rock singer of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery. First rising to stardom as the frontwoman for San Francisco psychedelic band Big Brother & the Holding Company, she left the group in the late '60s for a brief and uneven (though commercially successful) career as a solo artist. Although she wasn't always supplied with the best material or most sympathetic musicians, her best recordings, with both Big Brother and on her own, are some of the most exciting performances of her era. She also did much to redefine the role of women in rock with her assertive, sexually forthright persona and raunchy, electrifying on-stage presence.


Joplin was raised in the small town of Port Arthur, TX, and much of her subsequent personal difficulties and unhappiness has been attributed to her inability to fit in with the expectations of the conservative community. She'd been singing blues and folk music since her teens, playing on occasion in the mid-'60s with future Jefferson Airplane guitarist Jorma Kaukonen. There are a few live pre-Big Brother recordings (not issued until after her death), reflecting the inspiration of early blues singers like Bessie Smith, that demonstrate she was well on her way to developing a personal style before hooking up with the band. She had already been to California before moving there permanently in 1966, when she joined a struggling early San Francisco psychedelic group, Big Brother & the Holding Company. 


Although their loose, occasionally sloppy brand of bluesy psychedelia had some charm, there can be no doubt that Joplin -- who initially didn't even sing lead on all of the material -- was primarily responsible for lifting them out of the ranks of the ordinary. She made them a hit at the 1967 Monterey Pop Festival, where her stunning version of "Ball and Chain" (perhaps her very best performance) was captured on film. After a debut on the Mainstream label, Big Brother signed a management deal with Albert Grossman and moved on to Columbia. Their second album, Cheap Thrills, topped the charts in 1968, but Joplin left the band shortly afterward, enticed by the prospects of stardom as a solo act.

Joplin's first album, I Got Dem Ol' Kozmic Blues Again Mama!, was recorded with the Kozmic Blues Band, a unit that included horns and retained just one of the musicians that had played with her in Big Brother (guitarist Sam Andrew). Although it was a hit, it wasn't her best work; the new band, though more polished musically, was not nearly as sympathetic accompanists as Big Brother, purveying a soul-rock groove that could sound forced. That's not to say it was totally unsuccessful, boasting one of her signature tunes in "Try (Just a Little Bit Harder)."

For years, Joplin's life had been a roller coaster of drug addiction, alcoholism, and volatile personal relationships, documented in several biographies. Musically, however, things were on the upswing shortly before her death, as she assembled a better, more versatile backing outfit, the Full Tilt Boogie Band, for her final album, Pearl (ably produced by Paul Rothchild). Joplin was sometimes criticized for screeching at the expense of subtlety, but Pearl was solid evidence of her growth as a mature, diverse stylist who could handle blues, soul, and folk-rock. "Mercedes Benz," "Get It While You Can," and Kris Kristofferson's "Me and Bobby McGee" are some of her very best tracks. Tragically, she died before the album's release, overdosing on heroin in a Hollywood hotel in October 1970. "Me and Bobby McGee" became a posthumous number one single in 1971, and thus the song with which she is most frequently identified.

01. "Try (Just A Little Bit Harder)" (Ragovoy/Taylor) - 3:57
02. "Maybe" (Barrett) - 3:41
03. "One Good Man" (Joplin) - 4:12
04. "As Good As You've Been To This World" (Gravenites) - 5:27
05. "To Love Somebody" (B. Gibb/R. Gibb) - 5:14
06. "Kozmic Blues" (Joplin/Mekler) - 4:24
07. "Little Girl Blue" (Hart/Rodgers) - 3:51
08. "Work Me Lord" (Gravenites) - 6:45

Bonus tracks
09. "Dear Landlord" (Session Outtake) (Dylan/Joplin) - 2:32
10. "Summertime" (Live At Woodstock) (Gershwin)- 5:04
11. "Piece of My Heart" (Live At Woodstock) (Ragovoy/Berns) - 6:31

söndag 28 maj 2017

Joe Jones! - You Talk Too Much (Mkt Bra R&B US 1961) (OBS Endast Utgiven i 200 Exemplar)


240:- (Japan 24-Bit Limited Remaster Edition. OBS, endast utgiven i 200 exemplar från et litet japanskt skivbolag. Mycket bra R&B.)

Best remembered for the 1960 novelty smash "You Talk Too Much," New Orleans R&B singer Joe Jones later forged a career in production and publishing before becoming a galvanizing force in the battle for artists' rights. Born in the Crescent City on August 12, 1926, Jones followed a World War II naval stint by studying at the Juilliard Conservatory of Music. 

Upon returning to New Orleans he served as a valet for blues great B.B. King, later graduating to the positions of pianist and arranger. Jones also toured behind Shirley & Lee before forming his own band despite limited vocal ability. After playing the French Quarter nightclub circuit for several years, he cut his single "Will Call" for Capitol in 1954. After briefly resurfacing on the Herald label in 1957, the following year Jones signed with New York City-based Roulette to cut "You Talk Too Much," a song written by Fats Domino's brother-in-law Reggie Hall and summarily rejected by the Fat Man himself. Roulette shelved the disc, but Jones loved the song and re-recorded it in 1960 for the small New Orleans label Ric, complete with a new arrangement courtesy of Harold Battiste. 

Joe Jones And His Orchestra - France EP 1960
When "You Talk Too Much" topped New York radio, Roulette cried foul, filing an injunction that forced Ric to withdraw its version. The song soon reappeared on Roulette, crossing over to reach the pop Top Five by September. While Ric issued an answer record, Martha Nelson's "I Don't Talk Too Much," Jones' own follow-up, "One Big Mouth," flopped, and outside of 1961's minor hit "California Sun," he never charted again. Moreover, he earned next to nothing from the success of "You Talk Too Much" and in disgust relocated to New York to pursue a career in production, shepherding the fledgling careers of the Dixie Cups (of "Chapel of Love" fame) and R&B singer Alvin Robinson. 

Jones migrated to Los Angeles in 1973 and founded his own publishing firm. He also became an advocate for the rights of fellow R&B acts, helping African-American performers regain the rights and royalties they'd signed away during the infancy of the modern recording industry. Jones died in L.A. on November 27, 2005, following quadruple bypass surgery. He was 79. [AMG]

Joe Jones (August 12, 1926 – November 27, 2005) was an American R&B singer, songwriter and arranger, who was born in New Orleans, Louisiana. Jones is also generally credited with discovering the Dixie Cups. He also worked with B.B. King. As a singer, Jones's greatest hit was the Top Five 1960 R&B hit "You Talk Too Much", which also reached #3 on the pop chart.

Joe Jones And His Orchestra
US Single September 1960

Jones served in the U.S. Navy before studying music at the Juilliard Conservatory of Music. He was a valet, then pianist and arranger for B.B. King. His debut solo single was "Will Call" (1954) on Capitol Records. In 1960, "You Talk Too Much" became a national success, but his subsequent releases were less successful.

Jones claimed to have composed many songs, including the song "Iko Iko." Although his claims were originally successful, a federal jury and then Court of Appeals ruled that Jones did not write "Iko Iko," that his claims were fraudulent, and that the true writers were the band
he managed, the Dixie Cups (the true original recording of this song had been released as Checker 787 by New Orleans singer and pianist Sugar Boy Crawford and his Cane Cutters in late 1953). The band hired music attorney Oren Warshavsky, who had previously won a case demonstrating that Jones fraudulently claimed ownership of another Mardi Gras classic song, "It Ain't My Fault." Jones also failed in his bid to claim ownership (though not as an author) to yet another Mardi Gras classic song, "Carnival Time." He also originally recorded "California Sun", which was made a hit by the Rivieras. He later worked tirelessly for the rights of fellow R&B acts.

Jones died in Los Angeles, California, from complications from quadruple bypass surgery. 

01. You Talk Too Much 
02. I Love You Still 
03. Take a Little Walk 
04. Every Night About Eight 
05. McDonald's Daughter 
06. Tell Me What's Happening 
07. One Big Mouth (Two Big Ears)
08. Here's What You Gotta Do
09. I Need Someone
10. Where Is My Baby
11. Always Picking On Me
12. To Prove My Love to You

måndag 22 maj 2017

Shakey Vick - Little Woman You’re So Sweet (UK Blues 1969)


270:- (24-Bit Limited Remaster Edition. Utgiven av "Pig Pink Recors" och har inte funnits som Mini LP föränn nu. Gavs ut av Pye Records 1969. Bra engelsk blues.)

A live recording made at a club in Birmingham, a vinyl album. Featuring the guitar of Bruce Langsman, bass of Nigel Tickler and the drums of Ned Balen, this was Shakeys first album and is now a collectors item.

Shakey Vick got into blues in the late fifties and early sixties in various duos and blues bands around London.In 1963 he formed his first band, teaming up with Chris Youlden. They won a heat of an R&B contestand did a gig at the Marquee, which was recorded by Giorgio Gomulsky of Yardbirds connection. Shakey and Chris did a few duo gigs and also worked occasionally with Dave Peverett in Dave’s band Lonesome Jax.


In 1967 The first Shakey Vick Big City Blues Band was formed and started to gig around London and the home-counties circuit, including the Marquee, 100 Club, Klooks Kleek, etc. During those early yearshe worked with many American artists, including the late Champion Jack Dupree, Arthur Big Boy Crudup,and Johnny Shines.

At about this time Shakey was asked to join Savoy Brown when their harp player left. Shakey had toturn the offer down because Harry Simmonds, the manager could only offer half of what Shakey neededto live on. While the others in the band were all single at that time, Shakey had a wife and childrento support. He did a few gigs until Savoy Brown had a day off and were able to rehearse their setwithout harp and then carried on with his own Big City Blues Band. Later both Chris Youlden and Dave Peverett joined Savoy Brown and started their States careers.

The Shakey Vick band gigged regularly for a few years before Mel Wright, Ron Skinner and Rod Price split to form Dynaflow Blues. Rod Later teamed up with Dave Peverett in Foghat, the British bandwhich became very successful in the USA.

The Shakey Vick band continued with Bruce Langsman on guitar and the first album Little Woman You’re So Sweet, was recorded for Pye in 1969 (later released in the U.S.A. on the Janus label a Chess Records-associated company).

01. Good Morning Little School Girl - 05:51 
02. Blues With A Feeling - 07:35 
03. Backbiter - 05:39 
04. Come On In My Kitchen - 03:27 
05. Crossroads Blues - 05:14 
06. Terraplane Blues - 03:43 
07. Little Woman You're So Sweet - 05:53 
08. I'm Going Upstairs - 05:53 
09. Death Valley Blues - 06:22 
10. Movin 'To Chicago - 05:45

söndag 14 maj 2017

Cream - Fresh Cream (1:a Albumet Stereo/Mono UK 1966) (2CD + Många Bonusspår) (SHM-CD)


350:- (2CD, SHM-CD Limited Remaster Edition (High Resolution Cutting). Stereo/Mono versioner + många bonusspår. Ett extra laminerat promokonvolut medföljer. Efterraktad och ovanlig Mini LP.)

This double-CD set is the optimum way to hear the material concerned, although it offers nothing near the revelation that WHEELS OF FIRE, from the same 2013 reissue series, was. That's understandable, as the recording facilities and circumstances for the Cream's 1966 debut FRESH CREAM were, undoubtedly, more limited and more rushed than the work on their magnum opus double-LP two years later -- fresh remastering or not, even with high-resolution cutting, there's just not a huge amount to add to what we've known on these sides on past releases and reissues. 

The sound is still superb, ESPECIALLY on the mono disc -- on the stereo mix, there's great resolution, but anyone expecting the kind of detail revealed in the high-resolution remastering of DISRAELI GEARS or WHEELS OF FIRE will be a little disappointed. The specific mono vs. stereo virtues I'll leave to someone else to analyze -- but the mono mix has real PUNCH through my sound system (and me) when I listen to it, in ways that the stereo version does not. The artwork is handsome, and the bonus tracks add some extra depth (or breadth) to the proceedings.

Fresh Cream is Cream's December 1966 debut album. It was the first LP release of producer Robert Stigwood's new "Independent" Reaction Records label. It reached number 6 in the UK in February 1967 and - eventually - number 39 in the US in August 1968. The British version omitted "I Feel Free" (then their current single), while the US version contained it, though it dropped "Spoonful". 

Fresh Cream represents so many different firsts, it's difficult to keep count. Cream, of course, was the first supergroup, but their first album not only gave birth to the power trio, it also was instrumental in the birth of heavy metal and the birth of jam rock. That's a lot of weight for one record and, like a lot of pioneering records, Fresh Cream doesn't seem quite as mighty as what would come later, both from the group and its acolytes. 

In retrospect, the moments on the LP that are a bit unformed — in particular, the halting waltz of "Dreaming" never achieves the sweet ethereal atmosphere it aspires to — stand out more than the innovations, which have been so thoroughly assimilated into the vocabulary of rock & roll, but Fresh Cream was a remarkable shift forward in rock upon its 1966 release and it remains quite potent. Certainly at this early stage the trio was still grounded heavily in blues, only fitting given guitarist Eric Clapton's stint in John Mayall's Bluesbreakers, which is where he first played with bassist Jack Bruce, but Cream never had the purist bent of Mayall, and not just because they dabbled heavily in psychedelia. 

The rhythm section of Bruce and Ginger Baker had a distinct jazzy bent to their beat; this isn't hard and pure, it's spongy and elastic, giving the musicians plenty of room to roam. This fluidity is most apparent on the blues covers that take up nearly half the record, especially on "Spoonful," where the swirling instrumental interplay, echo, fuzz tones, and overwhelming volume constitute true psychedelic music, and also points strongly toward the guitar worship of heavy metal. 

Almost all the second side of Fresh Cream is devoted to this, closing with Baker's showcase "Toad," but for as hard and restless as this half of the album is, there is some lightness on the first portion of the record where Bruce reveals himself as an inventive psychedelic pop songwriter with the tense, colorful "N.S.U." and the hook- and harmony-laden "I Feel Free." Cream shows as much force and mastery on these tighter, poppier tunes as they do on the free-flowing jams, yet they show a clear bias toward the long-form blues numbers, which makes sense: they formed to be able to pursue this freedom, which they do so without restraint. If at times that does make the album indulgent or lopsided, this is nevertheless where Cream was feeling their way forward, creating their heavy psychedelic jazz-blues and, in the process, opening the door to all kinds of serious rock music that may have happened without Fresh Cream, but it just would not have happened in the same fashion as it did with this record as precedent. 

Musicians
 Ginger Baker – drums, percussion, vocals
 Jack Bruce – vocals, bass, harmonica, piano
 Eric Clapton – guitar, vocals

Disc 1 : Stereo Album
01. N.S.U. (2:44)
02. Sleepy Time Time (4:21)
03. Dreaming (2:00)
04. Sweet Wine (3:18)
05. Spoonful (6:30)
06. Cat's Squirrel (3:06)
07. Four Until Late (2:08)
08. Rollin' And Tumblin' (4:42)
09. I'm So Glad (3:58)
10. Toad (5:09)

Bonus Tracks
11. Wrapping Paper (2:25)
12. I Feel Free (2:52)
13. Coffee Song (2:45)

Disc 2 : Mono Album
01. N.S.U. (2:43)
02. SleepyTime Time (4:20)
03. Dreaming (1:59)
04. Sweet Wine (3:18)
05. Spoonful (6:31)
06. Cat's Squirrel (3:00)
07. Four Until Late (2:07)
08. Rollin' And Tumblin' (4:44)
09. I'm So Glad (3:59)
10. Toad (5:11)

Bonus Tracks
11. Wrapping Paper (2:28)
12. I Feel Free (2:49)
13. The Coffee Song (2:56)
14. Wrapping Paper (French EP Version) (2:24)
15. Sweet Wine (French EP Version) (3:18)
16. I'm So Glad (French EP Version) (3:56)
17. Cat's Squirrel (French EP Version) (3:01)
18. Rollin' And Tumblin' (French EP Version) (1:49)
19. Four Until Late (French EP Version) (2:08) 

söndag 7 maj 2017

Zakarrias - Zakarrias (Psychedelic-Flavoured Rock UK 1971)


330:- (24-Bit Limited Remaster Edition. Tillhör en av de svåraste Mini LP att hitta. Mycket åtråvärd och en av Englands dyraste Psych/Rock album i original.)

The only one album Zakarrias the British band is an overlooked treasure of the early 70s UK rock scene. Almost no information about the bands history is available, but their lone LP is now considered one of the rarest (along with Mellow Candle's Swaddling Songs album and LP groups Room.)



Recorded in London in the summer of 1971 by Austrian singer/song-writer Bobby Haumer. Together with a couple of mates they played a highly unusual blend of psych, folk, rock and blues. Zakarrias himself was an exceptionally talented songwriter and arranger. So this gem is still an eponymous LP with intelligent progressive and jazzy song writing and performing was issued on the highly collectable Deram -SML1091 label.

Released in 1971, the eponymous LP by Zakarrias presented their highly unusual blend of psych, folk, hard rock and blues, which benefited from diverse arrangements and clever, romantic lyrics is presented as a blues-rock alternative to LED ZEPPELIN.

Full of unexpected melodic shifts, and with an overwhelming sense of space and unresolved tension, the album skilfully blends singer/song writer introversion with elements of folk, blues, psychedelia and progressive rock. together with acoustic piano and guitar, and an excellent rhythm section,enhanced electric guitar and Hammond organ are both used but are mixed in subtly-manner. The results have been compared to outtakes from the third Led Zeppelin album, but while the lead vocals are certainly reminiscent at times of Robert Plant, the overall sound and general air of quiet pretension is probably closer to Van der Graaf Generator leader Peter Hammill's early solo work,also with a lot of Hammond organ and Rickenbacker bass. It can also remind of Riff Raff or to Brian Auger Oblivion Express. Great album one of my faves, this guy mixed, folk, blues, prog, and psych without a problem, MASTERPIECE ALBUM



By now, this has turned out to be the rarest Deram album. Musically it is a strange eclectic mixture of hard rock with acoustic guitar and bluesy folk with strongly romantic lyrics. The accompanying band plays tight enough, but most of the songs are a bit too common to excite. Zakarrias is at his best on the slower tracks when he doesn't try to rock out.

Zakarrias has a rather enigmatic approach to rockin': He does it without the typical lead guitar breaks, or loud, crunchy electric rhythm guitar one would normally find on a rock LP of this era. Instead, his approach is all about the tension and release built by using his reedy vocals together with acoustic piano and guitar, and an excellent rhythm section. The electric guitar and Hammond organ are both used but are mixed in subtly. I describe these things because they constitute a novel approach to arranging a rock LP of this era, in my view.

The songwriting style is bluesy yet also progressive and jazzy, since he incorporates many tempo changes within a given track. Furthermore, he also uses horns subtly with no blaring solos. His compositions don't burn, they smolder. Zakkarrias is a master of rhythm and mood on this his first and only LP. I'm wishing he had continued with other releases. I've not been able to find anything out about this artist's career. If anyone knows anything, I would appreciate an update.


Rare early '70s Deram psych / prog. One of the more interesting albums on the label with powerful distinctive male vocals, heavy guitar, bass keyboards and string arrangements. A bit like T2 in places... certainly a grower.... Recorded in London in the summer of 1971 by Austrian singer/songwriter Bobby Haumer and an English pick-up band, Zakarrias was issued on the highly collectable Deram label. However, Deram withdrew the album almost immediately when they discovered that Haumer didn't have a work permit. The result is one of the rarest slabs of early Seventies vinyl, original copies having sold for in excess of $3000 on the rare occasions that they surface. 

Full of unexpected melodic shifts, and with an overwhelming sense of space and unresolved tension, the album skilfully blends singer/songwriter introversion with elements of folk, blues, psychedelia and progressive rock. Mysteriously sounding heavy progressive with sensitive folk-psych moments. Great dynamics with contrasting guitar leads. The results have been compared to outtakes from the third Led Zeppelin album, but while the lead vocals are certainly reminiscent at times of Robert Plant, the overall sound and general air of quiet pretension is probably closer to Van der Graaf Generator leader Peter Hammill's early solo work.

Personnel:
* Zakarrias (Robert Haumer) – lead vocals, all guitars, bass, kazoo
* Peter Robinson – keyboards
* Geoff Leigh – flute, saxophone
* Martin Harrison – drums
* Don Gould – piano (06), string arrangements (06,08,09)

01. Country Out Of Reach (lyrics by Eva) – 3:58
02. Who Gave You Love – 3:54
03. Never Reachin’ – 4:52
04. The Unknown Years (lyrics by Eva) – 6:55
05. Sunny Side (lyrics by Samy Birnbach) – 3:36
06. Spring Of Fate – 3:12
07. Let Us Change (lyrics by Eva) – 3:45
08. Don’t Cry (lyrics by Eva) – 4:07
09. Cosmic Bride (lyrics by Samy Birnbach) – 6:04