Sweet d’Buster – Friction (1978)

“Friction” – an album released in 1978 by the Dutch group Sweet d’Buster. The collective was formed three years earlier and, most interestingly, they have included in its membership the former musicians very badsome commands such as: Golden Earring, Chain of Fools and Supersister! In Sweet d’Buster joined forces Bertus Borgers (vocals, saxophone, previously consisted of Mr. Albert Show, Sail and Watermelon), Paul Smeenk (guitar), Herman Deinum (bass, ex. Party Chain Of Fools), Hans Lafaille (drums, and this of Chain Of Fools) and Robert-Jan Stips (vocals, organ, percussion, ex. Supersister party and Golden Earring).
• Performed Sweet d’Buster quirky mix of funk, progressive and hard rock real hard and enjoyed popularity in native land. Their songs the band chose to perform in English, they have shown on his ring debut album (released in 1976). To record their second album, “Friction”, they say, it took almost half a year! Maybe that’s why meticulous audiophiles immediately rated it much higher than the debut. Group clearly progressed, but along with this confusion began with changes in the composition. Releasing the live album “Gigs” and third album “Shot Into the Blue” (1979) musicians dispersed to other teams (according to the information on alexgitlin.com, it happened at the end of 1980).

 Two favorite tracks to choose from Sweet d’Buster’s “Friction” was released in early 1978, is actually impossible. On this album nine magnificent pieces. The band grew out of two solo projects (which Bertus Borgers – sax and that of Robert Jan Stips – keys), was “Friction” came out, a well-oiled music machine. Especially the work of Paul Smeenk – guitar provided the swinging – at abutting funk sound. But the rhythm tandem Herman Deinum – bass and Hans Lafaille – drums, since 1966 in Blues Dimension played together, provided a solid foundation. About a month after I had bought this album, I was present at a concert of Sweet d’Buster in Almelo. And live when they drove very energetic live testament to how good they were responding to each other. That concert was much better than what gets on their live album “Gigs” would appear.
• The opener “Friction”, Angel is a true overture, beautiful swinging and thrusting. With Can not Buy Me Love is just a small step back, but Sweet d’Buster’s design makes this Beatles song into a real experience. Hard Stone Jungle swings again like a train at the end Still Believe begins quietly – to catch our breath, but quickly picks up this laid back soulfull song you. With Money Song is the A side of this LP soulfull swinging closed.
• And then begins side B. Stir Up The Fire begins quietly, but gradually the fire higher and higher stoked … until … Ahhh, what a beautiful piece. With Smash the Mirror – a piece of R.J. Stips about Elvis among others – is a step backwards. I’ve Gotta Know brings the swing slowly back to a good preparation for the next piece to finish.
• And that is: It Takes a Lot of Time (To Let All The People Know). It is a R.J. Stips classic of his first solo album “Never Greens”, but in a more swinging Sweet d’Buster package. All burn audible to their contribution. A wonderful finale of this five-star album!

In other words: That´s what I call music ! And if you likeDutch groups like Focus or Alquin … you should listen !

Personnel:
Bertus Borgers (vocals, saxophone)
Herman Deinum (bass)
Hans Lafaille (drums)
Paul Smeenk (guitar, vocals)
Robert Jan Stips (keyboards, synthesizer, vocals)
+
background vocals:
Josee Van Iersel – Meike Touw

Tracklist:
01. Angel (Borgers/Deinum) 5.19
02. Can’t Buy Me Love (Lennon/McCartney) 4.47
03. Hard Stone Jungle (Borgers/Smeenk) 5.03
04. Still Believe (Borgers/Smeenk) 4.05
05. Money Song (Borgers) 3.45
06. Stir Up The Fire (Borgers/Lafaille/Stips) 5.41
07. Smash The Mirror (Link/Stips) 4.12
08. I’ve Gotta Know (Link/Smeenk) 5.47
09. It Takes A Lot Of Time (To Let All People Know) (Deinum/Stips) 4.48

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Lyell Sayer & Clem Parkinson – Two Up (1983)

Clem Parkinson & Lyell Sayer have become to be regarded as an important part of the Australian folk community. These contemporary songwriters are still “having very pointed things to say about social issues” and they still form a key part of a tradition of writing from the stance of the union movement.

Lyell Sayer is one of the legendary figures of Australian folk.
His songs have been covered by notables such as Wongawilli and Warren Fahey, and he is an inspiration to modern-day musical satirists such as Bruce Watson.

Lyell Sayer has worked as a clerk, storeman, driver, salesman, customs officer, as well as being a folk singer and song-writer for many years. His work with the Amalgamated Metal Workers’ Union in Victoria in 1984 gave him and the union the opportunity to express a range of current issues and concerns through a medium not so common in workplaces – music and song. ‘Stand by the union’ is Lyell’s contribution to a tradition of rousing union songs of solidarity in the ‘Which side are you on?’ mode.

He is best known for his song The F-111, regaling the many faults and failings of the RAAF’s most controversial fighter jet acquisition of the 1970s. The General Dynamics F-111C was a controversial aircraft purchased by the Royal Australian Air Force in 1963. Problems began with a 10-year delay in delivery.

Lyell released a follow up album in 1984 called Victoria Street, also released on the Larrikin label.

Lyell currently Tutors in Music at the The University of the Thrid Age in Knox, specialising in the Ukulele.

Clem Parkinson is a Melbourne Folk Song writer

In 1964, Parkinson penned the Pig Iron Song, which retold the story around how Menzies got one of his most well known nicknames. Clem Parkinson has also written many Union Songs (ie. Galloway and Stephens – a song about the fight for an 8 hour working day / 40 hours a week)

Clem Parkinson’s controversial song-attack on the Victorian government over the King Street Bridge reactivated old traditional vs contemporary tensions within the Victorian Folk Music Club

Clem Parkinson also had long history of support for the Maritime Union of Australia.

Lyell Sayer

“Life in Australia can be very much like a game of two-up. Sometimes you land on the seat of your pants and sometimes flat on your face! Lyell Sayer and Clem Parkinson have seen both sides of the coin and it shows in their songwriting whether the subject be frivolous or serious. Here, on their first
record is a collection of a dozen of the best. Not that this is the first time these songs have found an audience … not by a long shot… for these musical ‘pen pushers’ have been churning out songs for years and songs like Colonel Sanders and the F-l 11 have, thankfully, become well entrenched
in the repertoire of many of our local singers.
Both Lyell and Clem enjoy taking the ‘mickey’ out of our politicians and why not! I have always felt that these contemporary folk songs play a real role in continuing the tradition of the folk song as the voice of the people. Long may the likes of Lyell Sayer and Clem Parkinson write and sing songs about us!” (Warren Fahey; taken from the original liner notes)

What a great folk Album … ! (thanks to rockonvinyl.blogspot)

Clem Parkinson + Lylell Sayer

Personnel:
Rudi Brandsma (bass, piano, Synthesizer, guitar on 03. )
Dick Keam (whistles, guitar, chook noises)
Jon Madin (mandolin, violin, accordion)
Clem Parkinson (vocals, guitar on 09.)
Andrew Riby (flute, tin whistie.concertina)
James Rigby (mandolin)
Lyell Sayer (vocals, guitar, Banjo)
Tony Simpson (banjo)

Tracklist:
01. Walking Back To (Bourke /Sayer) 4.03
02. Expense Account Racket (Parkinson) 3.15
03. Squizzy Taylor (Sayer) 3.44
04. Mulwala (Parkinson) 3.31
05. Words Of Love (Sayer) 3.48
06. Colonel Sanders (Parksinon) 2.15
07. The Wimmin’s Ball (Parkinson) 3.13
08. The F-111 (Sayer) 3.26
09. Temperance Shearers (Parkinson) 3.24
10. Junk Mail (Parkinson) 3.35
11. Life Begins At Forty (Sayer) 4.27
12. Matt Gabbett (Sayer) 3.00

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Colosseum – Valentyne Suite (1969)

Valentyne Suite was the second album released by the band Colosseum. It was Vertigo Records’ first album release, and reached number 15 in the UK Albums Chart in 1969.[1]

Though the song “The Kettle” is officially listed as having been written by Dick Heckstall-Smith and Jon Hiseman, a credit which is confirmed by Hiseman’s liner notes for the album, bassist and producer Tony Reeves later claimed that it was written by guitarist and vocalist James Litherland. (by Wikipedia)

One of England’s prime jazz-rock — or, more accurately, rock-jazz — outfits, most of the members of Colossuem had apprenticed in blues bands, and it shows very strongly on some of the material here. Both “The Kettle” and “Butty’s Blues” are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. “Elegy” is a fast-paced, minor-key blues that stretches guitarist James Litherland’s vocal abilities. Things do get far more interesting with “The Machine Demands a Sacrifice,” which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion.

The album’s real joy comes with “The Valentyne Suite,” which takes the band out of their bluesy comfort zone into something closer to prog rock. Bandleader Jon Hiseman is a stalwart throughout, his busy drumming and fills owing far more to jazz than the studied backbeat of rock. Greenslade proves to be a largely unsung hero, his only real solo in the suite something to offer a challenge to vintage Keith Emerson, but with swing. As to criticism, bassist Tony Reeves has very little flow to his playing, which severely hampers a rhythm section that needs to be loose-limbed, and Litherland’s guitar playing is formulaic, which can be fine for rock, but once outside the most straightforward parameters, he seems lost. In retrospect this might not quite the classic it seemed at the time, but it remains listenable, and for much of the time, extremely enjoyable. (by Chris Nickson )

Without any doubts: This is one of the finest jazz-rock albums ever recorded and this is one of my most favourite Albums.

Live at the Bath Festival, June 28th, 1969

Personnel:
Dave Greenslade (keyboards, vibraphone, background vocal on 03.)
Dick Heckstall-Smith (saxophones, flute)
Jon Hiseman (drums, percussion)
James Litherland (guitar, vocals)
Tony Reeves (bass)

+

Neil Ardley (conductor)

Tracklist:

01. The Kettle (Heckstall-Smith/Hiseman) 6.46
02. Elegy (Litherland) 3.14
03. Butty’s Blues (Litherland) 3.28
04. The Machine Demands A Sacrifice (Litherland, Heckstall-Smith/Brown, Hiseman) 3:55
05. Valentyne Suite Theme One: January’s Search (Greenslade) 6.20
06. Valentyne Suite Theme Two: February’s Valentyne (Greenslade) 6.57
07. Valentyne Suite Theme Three: The Grass is Always Greener (Heckstall-Smith/Hiseman) 3.37

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Arild Andersen – Kristin Lavransdatter (1995)

Arild Andersen (born 27 October 1945) is a Norwegian jazz musician bassist, known as the most famous Norwegian bass player in the international jazz Scene.

Andersen was born in Lillestrøm, Norway. He started his musical career as jazz guitarist in the Riverside Swing Group in Lillestrøm (1961–63), started playing double bass in 1964, and soon became part of the core jazz bands in Oslo. He was a member of Roy Hellvin Trio, was in the backing band at Kongsberg Jazz Festival in 1967 and 68, was elected Best Bassist by Jazznytt in 1967, and started as bass player in the Jan Garbarek Quartet (1967–1973), including Terje Rypdal and Jon Christensen. After completing his technical education in 1968, he became a professional musician and collaborated with Karin Krog, George Russell, and Don Cherry (Berlin 1968), and with visiting American musicians Phil Woods, Dexter Gordon, Bill Frisell, Hampton Hawes, Johnny Griffin, Sonny Rollins, Sheila Jordan, and Chick Corea. During the same period he worked with Ferenc Snétberger and Tomasz Stańko.

In the early 1970s, Andersen collaborated with Norwegian musicians Magni Wentzel, Jon Eberson, Ketil Bjørnstad, and Terje Rypdal, before leaving for an eventful visit to the U.S. in the winter of 1973–1974, and has since 1974 led his own bands, at first a quartet (1974–79). He worked with the Radka Toneff Quintet (1975–81) and has recorded more than a dozen albums as band leader for ECM Records, founded the critically acclaimed band Masqualero, and appeared as side man on a series of recordings. In January 2009 he was named “Musicien Europeen 2008” by the French Academie du Jazz, In 2010, Andersen received the Ella Award at the Oslo Jazzfestival. (by Wikipedia)

This one was written by Andersen for a play based on Sigrid Undset’s Nobel Prize-winning novel. I have seen this release slandered in an on-line review as inconsequential music but I would like to argue that it actually develops the ideas from “Arv” and “Sagn” further. Not as immediately arresting as those two masterpieces, Andersen here creates a less flashy, more pastoral sound. The inspiration is drawn from medieval ballads, instrumental folk tunes and jazz. However, this all new band (Andersen and Vinaccia plus Tore Brunborg on saxophone, wooden flutes and ocarina, and Reidar Skaar on keyboards) deliver compositions where the folk element is more subtly incorporated in the music and the musicians’ roots in the European free-jazz tradition much more to the front. This is especially true for tracks like “Erlends Flukt” and “Erlend” which would not have been out of place on Andersen’s normal ECM releases.
If one approaches this record like a movie-soundtrack – not expecting the combination of breathtaking instrumental virtuosity and characteristic folk singing on the previous albums – one will find that the band actually has managed to create an even more homogenous fusion between folk music and jazz. Besides functioning as illustration to scenes in the play this music definitely can stand alone as a separate, highly evocative, piece of work. In addition to the band, the CD-version includes contributions from0 the Oslo Chamber Choir, Kjetil Bjerkestrand on organ and a string quartet.

This is one of the finest jazz Albums from the Scandinavian Jazz Scene … If you like Jan Garbarek then is this Album a must.

The booklet contains many ilustrations by Gabrielle Kielland (Born 1945), a real fine Artist from Norweg

That´s what I call a jazz & art highlight !

Personnel:
Arild Andersen (bass)
Kjetil Bjerkestrand (organ)
Tore Brunborg (Saxophone, flute, ocarina)
Kjell Arne Jørgensen (violin)
Kari Ravnan (cello)
Reidar Skår (Keyboards)
Atle Sponberg (violin)
Nora Taksdal (viola)
Paolo Vinaccia (Percussion)
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Oslo Kammerkor (choir) conducted by Grete Helgerød
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Gabrielle Kielland (booklet illustrations)

Tracklist:

01. Kristin Og Alvemoen (Andersen) 3.53
02. Hamarkirken (Andersen) 2.35
03. Simons Festemø (Andersen) 3.28
04. Kristin Og Erlend (Andersen) 5.32
05. Isvind (Andersen/Vinaccia/Skår/Brunborg) 2.33
06. Bryllupsmarsj (Andersen) 2.00
07. Pilgrimssang (Andersen) 4.44
08. Nidaros (Andersen) 3.21
09. Erlends Flukt (Andersen) 3.31
10. Erlend (Andersen) 3,38
11. Sunniva (Andersen/Vinaccia/Skår/Brunborg) 2.41
12. Dans (Andersen) 2.05
13. Flommen (Andersen) 4.11
14. Simons Død (Andersen) 4.37
15. Tidlig Morgen (Andersen/Vinaccia/Skår/Brunborg) 2.21
16  Kristin (Andersen) 3.51
17. Pesten (Andersen/Vinaccia/Skår/Brunborg) 2.33
18. Ved Steingjerdet (Andersen) 2.07

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Various Artists – Reading Rock – Volume One (1982)

The twenty second festival possibly had a more attractive lineup than 1981, at least if one was a heavy rock devotee. The inclusion of hard rock guitar stalwarts Gary Moore, Randy California, southern rockers Blackfoot and erstwhile pub rockers Dave Edmunds and Wilko Johnson gave the lineup spine that was missing from the previous year.

   The headliners were also a tad more prestigious. The Scorpions/UFO former lead guitarist Michael Schenker, whose repertoire veered into the sort of metal jazz/rock territory inhabited by Jeff Beck- as well as delivering more predictable hard rock fare -gave Sunday night a touch of class .

   Budgie and Iron Maiden were guaranteed to deliver an exciting hard rock show, regardless of whether one thought of them as innovators within the genre or not. Maiden’s credentials were reinforced by the presence of Bruce Dickinson , the erstwhile Samson lead vocalist , who had taken over the vocal spot from Paul Di’Anno .

   All three of these artists were recorded by the venerable BBC and broadcast on the Radio One Friday night rock show in 1983 .

Iron Maiden

Once again, Reading delivered a mid range experience for the punters , no top end acts like Pink Floyd or the Stones which needed a mega crowd to return the organisers a profit, but a solid workmanlike bill that would leave the attendees satisfied in the main . This was what Reading was about at the time, but the formula was about to change , as 1983 would be the last Reading for several years, at long last , the never ending story was about to come to a ( temporary ) stop (by ukrockfestivals.com)

It is strange that Mean Records chose to include a couple of tracks that weren’t actually from the 82 Festival – Whitesnake’s recording was from the 79 Festival and UFO’s from 1980. Yet, they neglected to include tracks from bands that did perform like – Iron Maiden, Gary Moore and Tygers of Pan Tang. Below is the (almost) correct running order of the 1982 Reading Festival, taken from the official festival program. Perhaps they had intended to release a Volume Two (based on the name for this release – Volume One) but as far as I can gather this did not happen. (by Mr. AussieRock)

Michael Schenker

I add ten more songs from this great Festival (thanks to rockonvinyl.blogspot.de)

Tracklist:
01. Whitesnake:  Walking In The Shadows Of The Blues (Coverdale/Marsden) 4.40
02. Terraplane: I Want Your Body (Morley)  5.47
03. Marillion: He Knows You Know (Marillion) 4.46
04. Jackie Lynton: Slow Rider (Lynton/White) 4.46
05: Budgie: Superstar (Shelley/Thomas) 4.07
06. Bernie Marsden: S.O.S. (Marsden/Hawthorn) 4.42
07. Chinatown: I Wanna See You Tonight (Chinatown) 3.58
08. Randy California:  Come On Woman (California) 4.07
09. Stampede: There And Back (L.Archer/R.Archer/Bond) 5.44
10. Twisted Sister: Shoot ‘Em Down (Snider) 5.07
11. Michael Schenker: Attack Of The Mad Axeman  (Schenker/Barden) 4.31
12. Marillion: Three Boats Down From The Candy (Marrilion) 4.40
13. Terraplane: Turn Me Loose (Morley) 4.13
14. Just Good Friends: You Really Got Me (Davies) 4.27
15. UFO: Hot And Ready (Schenker/Mogg) 3.25
16. Budgie: Panzer Division Destroyed (Shelley/Thomas) 6.20
17. Grand Prix: Keep On Believin’ (Lanzon/O`Donoghue) 5.10
18. Spider: All The Time (Burrows/Harkness) 4.07
19. Chinatown: Caught On The Wrong Side (Chinatown) 4.24
20. Jackie Lynton; Hedgehog Song (Lynton) 4.57
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21. Gary Moore: Nuclear Attack (Moore) 5.27
22. Iron Maiden: Wrathchild (Harris) 3.32
23. Praying Mantis: Nightmares (C.Troy/Potts/Carroll/T.Troy) 3.01
24. Tygers Of Pan Tang: Blackjack (Tygers Of Pan Tan) 3.04
25. Y&T: Black Tiger (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 4.14
26. Gary Moore: Parisean Walkways (Lynott/Moore) 5.25
27. Iron Maiden Tush (Beard/Gibbons/Hill) 6.05
28. Praying Mantis: Flirtin’ With Suicide (C.Troy/Potts/Carroll/T.Troy) 5.28
29. Tygers Of Pan Tang: Slave To Freedom (Cox/Dick/Weir) 5.18
30. Y&T: Forever (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 5.47

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Sonny & Cher – Look At Us (I Got You Babe (1965)

Sonny & Cher were an American pop music duo, actors, singers and entertainers made up of husband-and-wife Sonny and Cher Bono in the 1960s and 1970s. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector.

The pair first achieved fame with two hit songs in 1965, “Baby Don’t Go” and “I Got You Babe”. Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recording for an unsuccessful movie, Good Times. In 1972, after four years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label.

In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple’s career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher sold over 40 million records worldwide.

Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny’s death in a skiing accident.

Look at Us is the debut album by American pop duo Sonny & Cher, released in 1965 by Atco Records. The album reached number two on the Billboard 200 and was certified Gold for the sales of 500,000 copies.

The album has sold over 8 million copies worldwide.

Shortly after their single “I Got You Babe” had reached number 1 on both sides of the Atlantic, Sonny Bono quickly put together an album for himself and Cher to release in late 1965 to capitalize on its success. Much like the single, this album was also a hit, peaking at the number 2 position on the Billboard 200 for 8 weeks.[4] It also went top ten in the UK, reaching #7.[5] Other than “I Got You Babe”, the album contains the Billboard Hot 100 top 20 hit single “Just You” and the minor hit single “The Letter”, which peaked at #75.

The cover was designed by Haig Adishian and photographed by Robert W. Young. (by Wikipedia)

For their first album-length excursion in the wake of “I Got You Babe,” Sonny & Cher don’t tread too far outside the influence of Phil Spector, including covers of “Unchained Melody,” “Then He Kissed Me,” and “Why Don’t They Let Us Fall in Love,” of which the latter shows off the most appealing elements of each singers’ voice. “It’s Gonna Rain,” which Ahmet Ertegun favored over “I Got You Babe,” is a sub-Rascals attempt at white electric soul, while “500 Miles” is Spectorized folk-rock that Sonny carries for one verse and a chorus longer than he should have. . (by Bruce Eder)

Alternate frontcovers (from Australia)

Personnel:
Harold Battiste (piano)
Hal Blaine (drums)
Sonny Bono (vocals)
Frank Capp (drums)
Cher (vocals)
Monte Dunn (guitar)
Gene Estes (percussion)
Cliff Hills (bass)
Barney Kessel (guitar)
Steve Mann (guitar)
Donald Peake (guitar)
Don Randi (piano)
Lyle Ritz (bass)
Michel Rubini (harpsichord)
Brian Stone (percussion)

Tracklist:
01. I Got You Babe (Bono) 3.12
02. Unchained Melody (Zaret/North) 3.52
03. Then He Kissed Me (Spector/Greenwich/Jeff Barry) 2.56
04. Sing C’est la Vie (Bono/Green/Stone) 3.39
05. It’s Gonna Rain (Bono) 2.24
06. 500 Miles (West) 3.55
07. Just You (Bono) 3.36
08. The Letter (Harris/Terry) 2.09
09. Let It Be Me (Bécaud/Curtis/Delanoë) 2.25
10. You Don’t Love Me (McDaniels/Cobbs) 2.32
11. You’ve Really Got A Hold On Me (Robinson) 2.24
12. Why Don’t They Let Us Fall In Love (Spector/Greenwich/Barry) 2.29

   

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Nino Rota – The Godfather (OST) 1972

The Godfather is the soundtrack from the film of the same name, released in 1972 by Paramount Records, and in 1991 on compact disc by MCA. Unless noted, the cues were composed by Nino Rota and conducted by Carlo Savina (who was credited on the LP, but not the CD). The song “I Have but One Heart” is sung by Al Martino, who performed it in the film as character Johnny Fontane.

The Godfather: (Nino Rota) It has been successfully argued many times that no film has had as much impact on cinema as Francis Ford Coppola’s original The Godfather. The 1972 powerhouse not only defined the entire subsequent genre of mob-related films, but remains a brutally memorable exhibit of dramatic storytelling at its most compelling. The adaptation of Mario Puzo’s best-selling and controversial novel, accomplished by Coppola and the author himself, was so encapsulating that it warranted every minute of its nearly three-hour running time, leaving enough room for the longer plot of the second film in this franchise to expand even further upon the same characters. Whereas most films utilize, intentionally or not, stereotypes in the definition of their characters, Puzo and Coppola invented an entire realm of new stereotypes in The Godfather. The story of the now famous trilogy of films follows the progression of the original New York mafia families in their efforts to survive and adapt in the times from the 1900’s to the 1990’s, the first two films tackling the initial threat posed by the introduction of the drug trade into the traditional operations of these bases of power.

The trilogy ultimately defines itself as the story of Michael Corleone, desperate to retain the Sicilian traditions of his father while moving the family forward into these new, more global avenues of wealth. His ultimate failure, foreshadowed in his ascension in The Godfather and progressively more shocking in the endings of the two sequels, guides the music of these films to a similarly depressing end. Like the films, the work of Nino Rota and Carmine Coppola for the soundtracks of these productions is engrained in the memory of the mainstream, defining the sound of mafia music much like the characters influenced later incarnations of essentially the same idea. If you boil down the plot elements of The Godfather to their most basic ingredients, they would be tradition, love, and fear. Rota’s score for the film perfectly embodies these three aspects of the story, licensing ten or so existing pieces for source usage. Carmine Coppola, the director’s father, wrote a small amount of original source material for The Godfather, increasing his efforts in this regard as the trilogy progressed. (by filmtracks.com)

Personnel:
Unknown orchestra cunducted by Carlo Savina
+
Al Martino (vocals on 02.)

Tracklist:
01.  Main Title (The Godfather Waltz) (Rota) 3.04
02. I Have But One Heart (Farrow/Symes) 3.00
03. The Pickup (Rota) 2.56
04. Connie’s Wedding (Coppola) 1.33
05. The Halls Of Fear (Rota) 2.12
06. Sicilian Pastorale (Rota) 3.03
07. Love Theme From The Godfather (Rota) 2.37
08. The Godfather Waltz (Rota) 3.35
09. Apollonia (Rota) 1.22
10. The New Godfather (Rota) 2.00
11. The Baptism (Rota ) 1.51
12. The Godfahter Finale (Rota) 3.50

 

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The Allman Brothers Band – Live From A&R Studios, New York, August 26, 1971 (1971)

Live from A&R Studios is an album by the Allman Brothers Band. It was recorded on August 26, 1971, at A&R Studios in New York City for a live radio broadcast.

A bootleg recording of this concert had been circulated for years, and coveted by many fans. Originally, “You Don’t Love Me” / “Soul Serenade” was released on the box set Dreams.

On Jambands.com, Larson Sutton said, “The nine-song program was inspired work, showcasing the conflagration of six musicians focused as one… The A&R show, presumably taped in droves by home stereos, was widely bootlegged, and in the following decades considered quite a treasure of both performance and historical context. To have it officially released, cleaned up and remastered to a high polish from the original broadcast tapes, is to put it finally in the proper place for all to hear; the magnificence of the Allman Brothers Band in one of its finest hours of its finest year of 1971.”

In American Songwriter, Hal Horowitz wrote, “As those who already own this heavily bootlegged concert, recorded in front of a small audience at the titular studio can attest, the sextet was on fire this evening. And even though there were few surprises in the songs played (they had stayed pretty similar for about a year), the group charged through the material like they had everything to prove…. Moderate Brothers admirers can stick with the already released versions, but for those digging deeper into Duane’s sadly limited well of professionally recorded work with the band, this is absolutely essential listening.” (by wikipedia)

We were reminded of this great show from the old European bootleg label, Gold Standard, when a fan shared his on the net earlier this month. It’s a killer show from the Allmans, at the peak of their career.

They had recorded their seminal live album, At Fillmore East, in March 1971, and continued to tour relentlessly. In July, At Fillmore East was released to critical acclaim. It was back on the road again to promote that album. One important stop was at New York’s A&R Studios. The show was broadcast live on FM.

This show was broadcast two weeks after the death of King Curtis. This article from Hittin’ The Note by Tim Hoover details Curtis’ influence on Duane Allman.

During the broadcast, Duane pauses to reflect on his fallen friend: “About King Curtis – that was one of the finest cats there ever was. He was just right on top of getting next to young people, you know? It’s a shame. If y’all get the chance, listen to that album he made out at Fillmore West… Boy, it’s incredible, it’s unbelievable, the power and the emotional stature the man had. He’s an incredible human being.

“At the funeral, boy, Aretha sang and Stevie Wonder played… they played ‘Soul Serenade.’ Duane breaks off into the melody of Curtis’ signature song, and a few in the audience respond with polite applause of recognition.

“Y’all probably a little bit young. It’s fantastic. We’ll do some of that… yeah, I know where we’ll do it…”

“Duane and the band jump into the intro for ‘You Don’t Love Me.’ A little over eight minutes into the song, Duane slows the band, reaching an achingly slow transitional phase, gradually leading everyone into his own version of ‘Soul Serenade’. When Duane plays the melody of the song again, the audience immediately begins clapping along to the sweet melodic tune. Suddenly, Duane jumps in and absolutely cuts the melody to shreds with one of the most moving, heart-felt solos you will ever hear, taking it right up into the stratosphere. Mirroring his words for Curtis, the ‘power and emotional stature’ of Duane’s own very personal and passionate eulogy for his lost friend is delivered as only he can do it – powerfully, lovingly, and gracefully.

Tragically, the Allman Brothers Band lost their founder and leader when Duane Allman was killed in a motorcycle crash in Macon on October 29, just two months after this show.

Allman’s influences were varied as they were all-encompassing. You can hear it in his playing, spacious, inventive, intense and always entertaining. Although he was a virtuoso musician, he was also a team player and his interplay with Dickey Betts was complex and masterful. At this point, the Allmans had a superb rhythm section of Berry Oakley, Butch Trucks and Jaimoe Johanson.

Back then, a broad outlook was important. Nobody liked being typecast or placed in boxes. The music had to be interesting. It’s almost four decades since Duane passed on, so this one’s in his Memory.

Personnel:
Duane Allman (guitar, slide guitar)
Gregg Allman  (keyboards, vocals)
Dickey Betts (guitar)
Berry Oakley (bass)
Butch Trucks (drums)
Jai Johanny Johanson (Jaimoe) (drums, percussion)

Tracklist:

01. Statesboro Blues (McTell) 4.30
02. Trouble No More (Morganfield) 4.04
03. Don’t Keep Me Wonderin’ (G.Allman) 3.39
04. Done Somebody Wrong (Lewis/James/Levy) 3.43
05. One Way Out (Sehorn/James) 4.48
06. In Memory Of Elizabeth Reed (Betts) 11.23
07. Stormy Monday (Walker) 8.48
08. Medley:
08.1. You Don’t Love Me (Cobbs)
08.2. Soul Serenade (Ousley/Dixon) 19.32
09. Hot ‘Lanta (G.Allman/D.Allman/Betts/Trucks/Oakley,Jai Johanny Johanson) 6.46

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This is just so shocking and sad. Butch Trucks, a founding member of the legendary Allman Brothers Band, allegedly shot himself in the head on Jan. 24, 2017 as his wife watched, according to a Jan. 26 report. Here’s what we know.

Butch Trucks has died at the age of 69 after suffering from a gun shot to the head, according to police reports obtained by Daily Mail. He was in his condo in West Palm Beach, FL, and his wife Melinda allegedly witnessed Butch pull the trigger. So awful.
What a tragedy …

Goodbye Butch … RIP !

Pat Halcox All Stars – 7th Avenue (1979)

This is the story of Pat Halcox:

Pat Halcox’s stature as one of the best trumpeters this country has produced is undoubted, but because he has played with Chris Barber for fifty years, he is almost unknown as a player in his own right. (This is not unusual: Trummy Young was never asked to record for anyone else during his long tenure in the Louis Armstrong All Stars.) The band plays over two hundred dates a year, and this leaves little time for doing much else. However, as I shall show, over the years Pat has had many other musical adventures. This brief survey is by no means complete, but aims to give a flavour of some of the guest appearances and other activities he has enjoyed.

It was only some two months after the Chris Barber Band started that Pat took part in his first non-Barber recording. Ian Wheeler had requested John R.T. Davies (he of the Temperance Seven, maestro of 78 rpm record restoration, and now co-producer of the Chris Barber Collection CDs on the Timeless label) to record a session with his colleagues in the Barber Band (minus Chris). This took place in the London Jazz Centre in Soho on 8 August 1954. It was possibly the only time Ian and Monty Sunshine played together, prior to the 1990s reunions of the old and new Chris Barber bands. There have been many requests for this session to be issued; so far no joy, a great pity. (Click here for session details.)

Pat has on occasion been asked to deputise for other band leaders. Two notable times occurred in 1964 and 1978. In 1964 Pat was asked to sit in for Alex Welsh when his band did a club session at the Georgian Jazz Club in Cowley. In the band were Roy Crimmins on trombone, John Barnes on saxes and clarinet (he later joined Humph’s band), the excellent Fred Hunt on piano, Jim Douglas on banjo and guitar (more of Jim later), Ron Mathewson on bass, and the slightly eccentric Lennie Hastings on drums. A marvellous session.

Humphrey ‘Humph’ Lyttelton was asked to appear at the 1978 Prague Jazz Festival (7 April) but had to pull out two days before flying out to Prague, and asked Pat to take over. This meant that Pat had to rush around sorting out a visa (it was in the days of the Iron Curtain) and a flight, but he made it, and joined Bruce Turner (again we will meet Bruce later), Malcolm Everson (baritone sax), Mick Pyne (piano), Dave Green (bass), and Tony Mann (drums). What Pat had not expected was to have to make all the introductions! He thought Bruce Turner would do those, but Bruce quietly reminded Pat that as Humph normally made them, and he was Humph’s dep it was Pat’s job! Another excellent performance.

The first album to include Pat away from the Barber band was Don Ewell Quintet. (Click here for session details.) Don was an American pianist, much recorded by George Buck for both his Jazzology and GHB labels. The recording was by Dave Bennett (at the time a school teacher, but now a full time record producer and recording engineer), recorded in February 1971 at the White Hart, Willesden. Besides Pat, some other familiar jazzmen were in the group: on clarinet was ‘Creole’ John Defferray, now a member of the Big Chris Barber band; on bass was Jackie Flavelle, at the time a member of the Chris Barber band; and on drums was Barry Martyn, who later moved to New Orleans, where he still lives.

In 1974 Pat played the first gigs with his ‘Summer Band’, basically a busman’s holiday. The idea was to play a few gigs during the Barber Band’s summer break. The first year it was the normal personnel of the time without Chris. The band played a more mainstream-slanted repertoire, and this become more pronounced as the personnel changed over the next few years. In 1974, the band brought back such items as ‘Worksong’, and added titles such as the Hodges tune ‘Squatty Roo’, and an acoustic guitar piece, ‘Plenty of Nothing’. Guests at the New River Club in Andover that year included local band leader Dave Morgan (trombone) and his banjo player Roger Dee

The personnel in 1975 and 1976 remained as before except that Pete York replaced Graham Burbidge on drums. 1975 tracks included ‘Shanty in Old Shanty Town’, ‘That Old Feeling’, and ‘Your Eyes Say Yes But…’ Guests at The Lord Raglan in Wolverhampton were vocalist and band leader Sheila Colyer, and pianist-vocalist Tommy Burton. 1976 gave us ‘All My Eggs In One Basket’, ‘Looks Like Another Winter’s Here’ (Jackie vocal), ‘Sam’ (Jackie again) and ‘Cowbell Blues’. There was a change in personnel in 1977: Campbell Burnap was added on trombone and vocals, and Jackie Flavelle was replaced by Roger Limb on bass (he worked for the BBC Radiophonic Workshop on projects such as Doctor Who). Numbers included ‘Blues in the Closet’ (a feature for Roger Limb), ‘Hot Step And Jump’, ‘What’s The Racket’, ‘Theme From Black Orpheus’, and two Campbell vocals, ‘I Want A Little Girl’ and ‘Lock My Heart’.

In 1978 an album, Pat Halcox All Stars, was recorded by Nigel Pegrum, who at the time was a member of Steeleye Span. That year the personnel had changed again, with Johnny Parker added on piano, and Vic Pitt replacing Roger Limb; also John Slaughter dropped out. In 1979 the band remained the same, and new tracks included ‘High on An Open Mike’, ‘5 O’clock Drag’, ‘Rag Time Dance’, and ‘Three Four The Blues’.

An added attraction during some of the 1980 shows was the inclusion of the vocal group Sweet Substitute (at this time they were Angie Masterson, Terri Leggett and Kate McNab, with their musical director and altoist Andy Leggett, Terri’s husband). Sweet Substitute were a Bristol group who were quite well known. They had recorded for Decca and Black Lion. I have always thought that they never achieved the success they deserved. Sweet Substitute sang Ellington tracks, show tunes, and pieces from the Swing Era. Numbers included ‘Uncle In Harlem’, ‘Sleepy Suzy’, ‘The Monkey Song’, ‘Heebie Jeebies’, and ‘I’ve Got Ford Engine Movements In My Hips’, among many others. Pete York was unavailable, and Jimmy Garforth took the drum stool. New band numbers included ‘Charlie The Chula’, a Johnny Parker piece, ‘Tribute To Big Bill (Broonzy)’, and a clarinet feature, ‘Dusk’. The mix was similar in 1981, but without Campbell Burnap. Mel Thorpe joined on reeds, and Roger Munns replaced Johnny Parker (Mel and Roger were members of Pete York’s Band at the time). The band name became The Pat Halcox-Pete York All Stars. Sweet Substitute were as the previous year. Further new titles included ‘Cherry’ and ‘Take It Upstairs’.

The final year that Pat took the band on tour was 1982, and the members of the band were Pat, John Crocker, Mel Thorpe, Roger Munns, Johnny McCallum, Bill Coleman (bass), and Pete on drums. Bill Coleman was Helen Shapiro’s bass player at the time. Sweet Substitute again sang at some of the gigs. The programme was far removed from the music and style as played in 1974! Titles included ‘The Hawk Talks’, ‘An Ordinary Thing’, ‘Apple Honey’, and ‘Segue In C’. This was the end of a long run of very different concerts, which I and many others enjoyed during our younger years! There were at least two specials, the first in 1978, at the Chris Barber Party Night on 30 December at the 100 Club, Oxford Street, London. Pat’s band that night was Pat, John, Jim Shepperd (trombone), Johnny Parker, Johnny, Vic, and Pete. They signed off with their signature tune, ‘The Theme From The Flintstones’. The other appearance was at the Repertory Theatre, Birmingham, on 13 December 1981. The reissued album is on Lake and should be available through them.

Returning to guest spots and other appearances, on 17 December 1977 the Chris Barber Band were at the Rep in Birmingham. The Strathallan Hotel ran a very successful weekly jazz club at the time, and issued a series of limited issue cassettes on the Neovox label. They hosted a session with well-known, mainly local, musicians, including Norman Field (reeds) and Ray Foxley (piano). Pat and Pete rushed over to the hotel and joined in on the last number, ‘Bourbon Street Parade’.

In 1989 George Buck asked Pat to put a band together to record an album, There’s Yes! Yes! In Your Eyes, again for Jazzology. He was free to choose his own musicians. The album was recorded over two sessions, 16 June and 14 July. The second session was required as the piano at The Bull’s Head, Barnes, was flat — hence the final blues on the record, ‘Joanna’s Flat Blues’! The producer and engineer was our old friend Dave Bennett. This is a wonderful album, and we find Bruce Turner in fine form, but only playing clarinet. John Beacham on trombone had played with many bands, including a long stint in the 1970s as part of the horn section of the pop group ‘The Kinks’. Dick Smith’s brother Ray Smith was on piano (Dick was a member of the Chris Barber band for ten years from 1956). Jim Douglas (previously noted in the Alex Welsh Band), Vic Pitt on bass, and Geoff Downes on drums rounded out the personnel.

Pat has continued to guest with bands both in the UK and abroad (the Lake Records All Stars, and with John Service of the Piccadilly Six in Switzerland, among many others). (by Julian Purser)

Pat Halcox’s “Autobiography”, written in about 1961:

We always had a piano at home, and, although neither of my parents were particularly musical, there’s always been an interest. They tell me that when I was four years old I would sit at the piano and pick out phrases and actually copy out music, even before I could write. So they sent me to a series of lessons that resulted in my passing an exam when I was four and a half. This was too good to last, of course, and I soon slowed down to a more normal rate of progress. In fact, by the time I was six, I’d stopped playing altogether, and it wasn’t until I was nearly fifteen that I found out what a social asset playing the piano could be.

When I did start again, I’d become involved loosely in jazz. I would try and rattle out ‘Cow Cow Boogie’. Pete Johnson’s ‘Roll ‘Em Pete’ was the first disc in my collection. I’ve always been fascinated by Boogie and the Blues ever since. It’s funny how the first influences stick hardest.

I first tried playing jazz in a band with Bob Dawbarn and a crowd of friends, including Mick Mulligan. It was one of those back-room-when-mother’s-out sort of bands. We used to make some terrible rows.

A friend of mine worked at Boosey and Hawkes, and he’d bring home lots of battered old instruments. I finally chose trombone, because that was what we needed. When I got into the RAF I played trombone there as well. I told them that I could read trombone music, which I couldn’t, so at first I had to sit at the back and fake. By the time that I came out as a fully competent trombone player I discovered that the band needed a trumpet player, so I had to switch again. As it happened it was a good job I did.

Leaving the musical side for a minute: I’d been training all this time to become a chemist, and I’d taken a job in a chemical laboratory, and was working away at nights, whenever my jazz would allow me. So, when I came out of the RAF in 1950, I went back to my chosen career of chemistry. Unfortunately for these studies a band called the Brent Valley Jazz Band was formed by my friend Colin Kingwell and myself, and it started to get odd jobs. We even went in for a talent competition organised by a detergent called Whisk, and got through a couple of semi-finals at various cinemas. We won enormous quantities of Whisk and five guineas, which we spent immediately in the nearest pub. After that I moved to the Albermarle Jazz Band – also playing in the West of London – and for about two years we played at Don Short’s club at the White Hart, Southall.
 

I almost joined Chris during that time when he was forming the band that later was joined and led by Ken Colyer, but I still hoped to make a career out of chemistry, and so I turned down the opportunity (or gamble as it was then) to turn pro, and had to wait until 1954 before I got my second chance to join Chris. Now I’m sure about what I want to do: play trumpet with the Chris Barber Band.

Looking back on the seven years that I’ve been with Chris, I think that one of the highlights was making the soundtrack for Look Back In Anger. I was absolutely fascinated, possibly because my strongest interest outside of jazz is photography. I’m working on building a darkroom in the house that I’ve just moved into with my wife. But of course there have been endless series of wonderful things with the band: New Orleans, the Hollywood Bowl, Denmark, Berlin, Sister Rosetta.

I suppose that my early influences on cornet were Muggsy Spanier and Tommy Ladnier. Now I like lots of people. In the early jazz club days I was a violent anti-modern, but now I like some of it. Mainly the people with roots, I think – Parker, John Lewis, Gillespie and Ellington, especially Ellington. I wouldn’t say that I’m content with the way things are at the moment – no musician ever really is content unless he’s lost all ambition, but I’m very happy with the way things are going. The Band is a happy place to work, and I love playing trumpet. That’s why you’ll find me creeping off to places like Wood Green to sit in with the Alex Welsh Band or Kenny Ball my nights off.

And this is his extremley rare and wonderful solo album … What can I say ? If you like the British jazz … it´s a must, if you like Chris Barber … it´s a must … if you like Music .. it´s a must … Listen and enjoy !

Alternate front + backcover

Tracks 1-10 at Bray Studios, Windsor, 21 November 1978.
Tracks 11-14 at The Crown Jazz Club, Codsall, 15 July 1978
except
Track 13 recorded at The Crown Jazz Club, Codsall, 7 July 1979

Personnel:
Campbell Burnap (trombone, vocals)
John Crocker (clarinet, Saxophone)
Pat Halcox (trumpet)
Johnny McCallum (guitar)
Johnny Parker (piano)
Vic Pitt (bass)
Pete York (drums)

Tracklist:

01. Flintstones (Bryson/Goldberg/Shows) 3.49
02. Blue & Sentimental (Basie/David/Livingstone) 4.29
03. I’m Gonna Lock My Heart & Throw Away The Key (Eaton/Shand) 3.05
04. China Boy (Winfrey/Boutiljie) 3.07
05. I Wanna Little Girl (Moll/Mencher) 6.30
06. What’s The Racket? (York) 5.06
07. Jeepers Creepers (Warren/Mercer) 2.59
08. You Took Advantage Of Me (Rodgers & Hart) 4.35
09 Three Four The Blues (Parker) 2.25
10 Dusk (Ellington) 4.26
+
11. 5 O’clock Drag (Ellington/Adamson) 5.41
12. Fidgety Feet (LaRocca/Shields) 8.40
13. Deed I Do (Hirsch/Rose) 9.05
14. Dr. Jazz (Oliver/Melrose) 6.43

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Eric Burdon And The Animals – Roadrunners! Rare Live And Studio Recordings (1990)

Eric’s at his wild best in these rare recordings-many never heard by even the most ardent Animals collector! Four tracks are British radio broadcasts from ’66, one is from German TV in ’67; the rest are all live, from Monterey in ’67, London in ’67 (including Inside Looking Out ) and Stockholm in ’68 ( San Franciscan Nights; Monterey , and more). And the rarest of the rare: six live cuts from Melbourne, Australia in ’67, including See See Rider and When I Was Young .
This is a mixed bag of live and BBC recordings from both the post-Alan Price edition of the original band, and the later New Animals of “San Franciscan Nights” fame. Sound quality varies, but the obscurity of these tracks more than compensates. The Beeb tracks include one Price number, a faithful rendition of “Heartbreak Hotel.” Other highlights include gritty takes on “Inside Looking Out” and “Maudie” plus a fantastic version of “Jailhouse Rock” that comes within shouting distance of Elvis (honestly!). Barry Jenkins almost steals the show with his knockout drumming, and Zoot Money’s organ washes are utterly scintillating. There’s also a raw set culled from the New Animals’ tour of Australia, highlighted by spirited versions of standards like “Shake Rattle and Roll” and “See See Rider.” The version of “When I Was Young” is also strong and the groovy radio announcer at the end is a trip. Burdon’s Monterey appearance is showcased in a pair of freakout versions of “Ginhouse Blues” and “Hey Gyp”, both of which are way too long and too self-indulgent. This is the weakest part of the album by far. New Animals fans will adore the 1968 tracks from Stockholm which feature the band at its psychedelic apex. As goofy as it sounds on WINDS OF CHANGE, “Yes I’m Experienced” really rocks on stage (especially the killer feedback rave up—and Eric’s rap at the end is hilarious), and the other tracks (“Paint It Black”, “San Franciscan Nights” and “Monterey”) are faithful, though edgier recreations of the group’s studio versions. Vic Briggs always claims the band was much better on stage than in the studio and this set backs him up, mainly because Burdon’s often wearying improvisations are kept to a reasonable minimum. Grab it if you dig Burdon’s post-1966 work (although Glen A. Baker’s liner notes are so fawning they’re worthless).(by an amazon customer

Personnel:
Various Animals line-ups

Tracklist:

Broadcasts:
BBC 1966:
01. Heartbreak Hotel (Axton/Durden) 2.40
02. The Work Song (Adderley/Brown) 2.52
03. Corrina Corrina (Traditional) 2.46
04. Jailhouse Rock (Leiber/Stoller) 2.52

German TV 1967:
05. Roadrunner (McDaniel) 2.53

Concerts:
Monterey 1967:
06. Gin House Blues (Troy/Henderson) 5.51
07. Hey Gyp (Dig The Slowness) (Leitch) 8.24

Festival Hall, Melbourne, 1967:
08. Shake, Rattle & Roll (Calhoun) 4.25
09. When I Was Young (Burdon/Briggs/Weider/Jenkins/McCulloch) 3.15
10. See See Rider (Rainey) 4.02
11. Rock Me Baby (King/Josea) 2.36
12. Tobacco Road (Loudermilk) 5.37
13. So Long (Burdon/Briggs/Weider/Jenkins/McCulloch) 3.46

Live London, 1967:
14. Inside Looking Out (L.Lomax/A.Lomax/Burdon/Chandler) 3.04
15. Maudie (Hooker) 4.15

Live Stockholm, 1968:
16. San Franciscan Nights (Burdon/Briggs/Weider/Jenkins/McCulloch) 4.33
17. Monterey (Burdon/Briggs/Weider/Jenkins/McCulloch) 6.16
18. Paint It Black (Jagger/Richards) 6.28

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