The Ventures – A Go-Go (1965)

FrontCover1.JPGThe Ventures are an American instrumental rock band formed in 1958 in Tacoma, Washington. Founded by Don Wilson and Bob Bogle, the group in its various incarnations has had an enduring impact on the development of music worldwide. With over 100 million records sold,[1] the group is the best-selling instrumental band of all time. In 2008, the Ventures were inducted into the Rock and Roll Hall of Fame.

Their instrumental virtuosity, experimentation with guitar effects, and unique sound laid the groundwork for innumerable groups, earning them the moniker “The Band that Launched a Thousand Bands”. While their popularity in the United States waned in the 1970s, the group remains revered in Japan, where they tour regularly to this day.

he Ventures a Go-Go is the seventeenth studio album by the band The Ventures; released in 1965 on Dolton Records BST 8037 (stereo) and BLP 2037 (monaural). It consists mostly of instrumental covers of popular tunes from the late 50’s and early 60’s, with a few original compositions. It was on the charts for 35 weeks and it peaked at # 16 on the Billboard 200. This album was the fourth highest charting album that The Ventures released. (by wikipedia)

TheVentures

Personnel:
Bob Bogle (bass , guitar)
Nokie Edwards (guitar)
Mel Taylor (drums)
Don Wilson (guitar)
+
Evelyn Freeman (keyboards)

BackCover1.JPG

Tracklist:
01. (I Can’t Get No) Satisfaction (Jagger/Richards) 2.27
02. Go-Go Slow (Bogle/Edwards/Taylor/Wilson) 2.16
03. Louie Louie (Berry) 2.38
04. Night Stick (Bogle/Edwards/Taylor/Wilson) 2.07
05. La Bamba (Traditional) 2.29
06. The “In” Crowd (Page) 2.22
07. Wooly Bully (Samudio) 2.31
08. A Go-Go Guitar (Bogle/Edwards/Taylor/Wilson) 2.18
09. A Go-Go Dancer (Bogle/Edwards/Taylor/Wilson) 2.15
10. The Swingin’ Creeper (Bogle/Edwards/Taylor/Wilson) 2.45
11. Whittier Blvd. (Espinoza/Garcia) 2.34
12. I Like It Like That (Kenner) 2.26
+
13. Gemini (single B-side) (Blanchard/Fenner) 2.18
14. Indian Summer (single A-side) (Bogle/Edwards/Taylor/Wilson) 2.30
15. Tarantella (single B-side) (Bogle/Edwards/Taylor/Wilson) 2.10

LabelA1

*
**

Advertisements

Dutch Swing College Band – Dixie Jubilee (1970)

FrontCover1.JPGThe Dutch Swing College Band “DSCB” is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) – among many others.

The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort’s death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960

DSCB

On this record, the Dutch Swing College Band celebrates their 25th anniversary with a couple of old tunes, from the very early days (mono recordings) till 1970.

Enjoy this beautiful trip in the past … enoy this trip to the early days of Jazz !

Linernotes.jpg

Personnel:
Dick Bakker (banjo on 01. – 03.)
Martin Beenen (drums on 07.)
Chris Bender (bass on 01. – 03.)
Wybe Buma (trumpet on 05. – 07.)
Kees van Dorsser (trumpet on 01. – 05.)
Eddie Hamm (vocals on 05.)
Huub Jansen (drums on 12.)
Arie Ligthart (banjo on 05. + 06.)
Bob Kaper (clarinet on 12.)
Dick Kaart (trombone on 07. – 12.)
Ray Kaart (trumpet on 08. – 11.)
Dim Kesber (clarinet on 01. – 06.)
Oscar Klein (trumpet on 07.)
Wim Kolstee (trombone on 01. – 07.)
Bert de Kort (corent on 12.)
Joop Van Leeuwen (banjo on 04.)
Arie Merkt (drums on 01. – 04.)
Jan Morks (clarinet on 07.)
Bob van Oven (bass on 04. – 11.)
Lu Ssanet (drums on 07. – 11.)
Peter Schilperoort (saxophone on 12.)
Joop Schrier (piano on 01. – 07.)
Koos Serierse (bass on 10.)
Peter Schilperoort (clarinet on 01. – 03., 05., 07. – 10., cornet on 04., drums on 12.)
Chris Smildiger (bass on 12.)
Andre Westendorp (drums on 05., trumpet on 06.)
Ferry Wienneke (piano on 09.)
Peter Ypma (drums on 11.)

Conductor: Peter Schilperoort

BackCover1

Tracklist:
01, PanamaA1 Panama (Tyers)  3.04
02. At The Jazzband Ball (Shields/La Rocca) 3.96
03. Tin Roof Blues (Pollack/Brunies/Roppolo/Stitzel/Mares/Melrose) 3.11
04. Snake Rag (Oliver) 2.48
05. Dipper Mouth Blues (Oliver/Armstrong/Melrose) 2.41
06. Steamboat Stomp (Senter) 3.17
07. Buddy’s Habits (Nelson/Straight) 8.35
08. Big Butter And Eggman (Armstrong/Venable) 2.39
09. Besame Mucho (Velazquez) 2.37
10. Clarinet Marmalade (Raggs/Shields) 3.41
11. Melancholy (Blues) (Bloom/Melrose) 3.27
12. Since My Best Gal Turned Me Down (Quicksell/Lodwig) 3.14

LabelB1

*
**

Bobby Bare – Folsom Prison Blues (1968)

FrontCover1.JPGBobby Bare (born Robert Joseph Bare on April 7, 1935 in Ironton, Ohio) is an American country music singer and songwriter. He is the father of Bobby Bare, Jr., also a musician. Bare had many failed attempts to sell his songs in the 1950s. He finally signed with Capitol Records and recorded a few rock and roll songs without much chart success. Just before he was drafted into the Army, he wrote a song called “The All American Boy” and did a demo for his friend, Bill Parsons, to learn and record. Instead of using the version Bill Parsons did later, the record company, Fraternity Records, decided to use the original demo done by Bobby Bare. The record reached number 2 on the Billboard Hot 100, but they made an error: the singles’ labels all credited the artist as being “Bill Parsons. From 1983 to 1988, Bobby hosted Bobby Bare and Friends on The Nashville Network which featured Bobby interviewing songwriters who sang their hit songs on the show.

BobbyBare1

In 1985, Bobby signed with EMI America Records where he scored 3 charted singles, but none of these reached the upper regions of the charts. In 1998, he formed the band, Old Dogs, with his friends Jerry Reed, Mel Tillis and Waylon Jennings. In nearly 50 years of making music, Bobby has made many firsts in country music. Bare is credited for introducing Waylon Jennings to RCA. He is also one of the first to record from many well- known song writers such as Jack Clement, Harlan Howard, Billy Joe Shaver, Mickey Newbury, Tom T. Hall, Shel Silverstein, Baxter Taylor and Kris Kristofferson. In 2006, he recorded a new album after over 20 years, called The Moon Was Blue,produced by his son. He continues to tour today. (by tjscountry.forumotion.com)

This album,from ’68 reveal the restless creativity and refusal to walk the straight country-music line that defined the career of Bobby Bare. He puts his own touch on Bob Dylan’s Blowin’ in the Wind ; Johnny Cash’s Folsom Prison Blues ; Bobby Goldsboro’s Autumn of My Life.

If you like this mellow country music … you should listen !

BobbyBare2

Personnel:
Bobby Bare (vocals, huitar)
+
a bunch of unknown studio musicians

BackCover.jpg

Tracklist:
01. Folsom Prison Blues (Cash) 2.50
02. Autumn Of My Life (Goldsboro) 3.30
03. Abilene (Gibson/Loudermilk/Brown) 2.13
04. Blowin’ In The Wind (Dylan) 2.57
05. Lemon Tree (Holt) 2.20
06. Try To Remember (Schmidt/Jones) 2.24
07. Silence Is Golden (Brown, Jr.) 2.28
08. Gotta Travel On (Lazar/Ehrlich/Clayton/Six) 2.13
09. When Am I Ever Gonna Settle Down (Large/Lomax) 2.41
10. No Sad Songs For Me (Springfield) 2.24

LabelB1

*
**

GermanBackCover1German backcover

Blood, Sweat & Tears – Blood, Sweat & Tears 3 (1970)

LPFrontCover1Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.

After the huge success of their previous album, Blood, Sweat & Tears 3 was highly anticipated and it rose quickly to the top of the US album chart. It also yielded two hit singles: a cover of Carole King’s “Hi-De-Ho”, and “Lucretia MacEvil.” However, the album relied heavily on cover material and it received lukewarm reviews (this may also have been influenced by the band’s participation in an unpopular U.S. government-sponsored tour of Eastern Europe (by wikioedia)

Blood, Sweat & Tears had a hard act to follow in recording their third album. Nevertheless, BS&T constructed a convincing, if not quite as impressive, companion to their previous hit. David Clayton-Thomas remained an enthusiastic blues shouter, and the band still managed to put together lively arrangements, especially on the Top 40 hits “Hi-De-Ho” and “Lucretia Mac Evil.” Elsewhere, they re-created the previous album’s jazzing up of Laura Nyro (“He’s a Runner”) and Traffic (“40,000 Headmen”), although their pretentiousness, on the extended “Symphony/Sympathy for the Devil,” and their tendency to borrow other artists’ better-known material (James Taylor’s “Fire and Rain”) rather than generating more of their own, were warning signs for the future. In the meantime, BS&T 3 was another chart-topping gold hit. (by William Ruhlmann)

BST1970

Personnel:
David Clayton-Thomas (vocals)
Bobby Colomby (drums, percussion, background vocals)
Jim Fielder (bass)
Dick Halligan (keyboards,  harpsichord, celeste, trombone, flute, horn, background vocals)
Jerry Hyman (trombone, recorder)
Steve Katz (guitar, vocals on 02., harmonica)
Fred Lipsius (saxophone, piano, backgtound vocals, music box)
Lew Soloff (trumpet, flugelhorn)
Chuck Winfield (trumpet, flugelhorn)

Booklet

Tracklist:
01. Hi-De-Ho (Goffin/King) 5.36
02. The Battle (Halligan/Katz) 2.53
03. Lucretia MacEvil (Clayton-Thomas) 3.04
04. Lucretia’s Reprise” (Blood, Sweat & Tears) – 2:35
05. Fire And Rain (Taylor) 4.03
06. Lonesome Suzie (Manuel) 4.36
07. Symphony For The Devil Halligan)/Sympathy For The Devil (Jagger/Richards) 7.50
08. He’s A Runner (Nyro) 4.15
09. Somethin’ Comin’ On (Cocker/Stainton) 5.33
10. 40,000 Headmen (Winwood/Capaldi) 4.41

LsbelB1

*
**

Miles Davis – On The Corner (1972)

FrontCover1.jpgOn the Corner is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and July 1972 and released later that year by Columbia Records. The album continued Davis’s exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.On the Corner is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and July 1972 and released later that year by Columbia Records. The album continued Davis’s exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.
Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet. Various takes from the sessions were then spliced together using the tape editing techniques of producer Teo Macero. The album’s packaging did not credit any musicians, an attempt to make the instruments less discernible to critics. Its artwork features Corky McCoy’s cartoon designs of urban African-American characters.
On the Corner was in part an effort by Davis to reach a younger African American audience who had left jazz for funk and rock and roll. Instead, it became one of his worst-selling albums and was scorned by jazz critics at the time of its release. It would be Davis’s last studio album of the 1970s conceived as a complete work;

RecordAd

Record ad

subsequently, he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.
The critical standing of On the Corner has improved dramatically with the passage of time.[3] Many outside the jazz community later called it an innovative musical statement and forerunner to subsequent funk, jazz, post-punk, electronica, and hip hop. In 2007, On the Corner was reissued as part of the 6-disc box set The Complete On the Corner Sessions, joining previous multi-disc Davis reissues.

Following his turn to fusion in the late 1960s and the release of rock- and funk-influenced albums such as Bitches Brew (1970) and Jack Johnson (1970), Miles Davis received substantial criticism from the jazz community. Critics accused him of abandoning his talents and pandering to commercial trends, though his recent albums had been commercially unsuccessful by his standards. Other jazz contemporaries, such as Herbie Hancock, Cecil Taylor, and Gil Evans defended Davis; the latter stated that “jazz has always used the rhythm of the time, whatever people danced to”. In early 1972, Davis began conceiving On the Corner as an attempt to reconnect with the young African-American audience which had largely forsaken jazz for the groove-based music of Sly and the Family Stone and James Brown. In an interview with Melody Maker, Davis stated that
“I don’t care who buys the record so long as they get to the Black people so I will be remembered when I die. I’m not playing for any white people, man. I wanna hear a black guy say ‘Yeah, I dig Miles Davis.'”

Michael Henderson

Michael Henderson

Also cited as an influence by Davis was the work of experimental composer Karlheinz Stockhausen, in particular his forays into electronic music and tape manipulation. Davis was first introduced to Stockhausen’s work in 1972 by collaborator Paul Buckmaster, and the trumpeter reportedly kept a cassette recording of the 1966–67 Hymnen composition in his Lamborghini sports car. Some concepts from Stockhausen that appealed to Davis included the electronic sound processing found in Hymnen and the 1966 piece Telemusik, and the development of musical structures by expanding and minimizing processes based on preconceived principles—as featured in Plus-Minus and other Stockhausen works from the 1960s and early 1970s. Davis began to apply these ideas to his music by adding and taking away instrumentalists and other aural elements throughout a recording to create a progressively changing soundscape. Speaking about Stockhausen’s influence, Davis later wrote in his autobiography:

“I had always written in a circular way and through Stockhausen I could see that I didn’t want to ever play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a process of elimination and addition.”

The work of Buckmaster (who played electric cello on the album and contributed some arrangements) and the “harmolodics” of saxophonist Ornette Coleman would also be an influence on the album. In his biography, Davis later described On the Corner with the formula “Stockhausen plus funk plus Ornette Coleman.” Using this conceptual framework, Davis reconciled ideas from contemporary art music composition, jazz performance, and rhythm-based dance music.Recording and productionBassist Michael Henderson was a fixture throughout the recording sessions.
Recording sessions began in June 1972. Both sides of the record consisted of repetitive Miles Davis02drum and bass grooves based around a one-chord modal approach, with the final cut culled from hours of jams featuring changing personnel lineups underpinned by bassist Michael Henderson. Other musicians involved in the recording included guitarist John McLaughlin, drummers Jack DeJohnette and Billy Hart, and keyboardists Herbie Hancock and Chick Corea. On the Corner utilized three keyboardists like Bitches Brew while pairing Hart—who had played in Hancock’s Mwandishi-era band—with DeJohnette and two percussionists. Hancock’s reed player, Bennie Maupin, played bass clarinet and Dave Liebman was recruited as saxophonist. Jazz historian Robert Gluck later discussed the performance:
“The recording functions on two layers: a relatively static, dense thicket of rhythmic pulse provided by McLaughlin’s percussive guitar attack, the multiple percussionists, and Henderson’s funky bass lines, plus keyboard swirls on which the horn players solo. Segments of tabla and sitar provide a change of mood and pace. Aside from ‘Black Satin,’ most of the material consists of intense vamps and rhythmic layering.”

Compared to Davis’ previous recordings, On the Corner found the musician playing the trumpet scarcely, instead often playing keyboards. It also saw his producer, Teo Macero, employ cut-and-splice tape editing procedures (pioneered in the late 1960s on In a Silent Way) to combine various takes in creating a single cohesive work. which also allowed Macero and Davis to overdub and add effects. Some of the musicians expressed misgivings about the unconventional musical direction of the sessions: Liebman opined that “the music appeared to be pretty chaotic and disorganized,” while Buckmaster stated that “it was my least favorite Miles album.”Packaging and release
The album cover featured an illustration by cartoonist Corky McCoy depicting ghetto caricatures, including prostitutes, gays, activists, winos, and drug dealers. The packaging only featured one stylized photograph of Davis, and was originally released with no musician credits, leading to ongoing confusion about which musicians appeared on the album. Davis later admitted to doing this intentionally: “I didn’t put those names on On the Corner specially for that reason, so now the critics have to say, ‘What’s this instrument, and what’s this? … I’m not even gonna put my picture on albums anymore. Pictures are dead, man. You close your eyes and you’re there.”

Track Sheet

Track sheet

Upon its release, the album’s commercial success was as limited as that of Davis’s albums since Bitches Brew, topping the Billboard jazz chart but only peaking at #156 in the more heterogeneous Billboard 200. Paul Tingen wrote that “predictably, this impenetrable and almost tuneless concoction of avant-garde classical, free jazz, African, Indian and acid funk bombed spectacularly, leading to decades in the wilderness. As far as the jazzers were concerned, it completed Davis’s journey from icon to fallen idol.”[1]Reception and legacyInitial response
On the Corner was panned by most critics and contemporaries in jazz; according to Tingen, it became “the most vilified and controversial album in the history of jazz” only a few weeks after its release. Saxophonist Stan Getz proclaimed “that music is worthless. It means nothing; there is no form, no content, and it barely swings.” Jazz Journal critic Jon TShirtBrown wrote, “it sounds merely as if the band had selected a chord and decided to worry hell out of it for three-quarters of an hour,” concluding that “I’d like to think that nobody could be so easily pleased as to dig this record to any extent.” Eugene Chadbourne, writing for jazz magazine CODA, described it as “pure arrogance.” In his 1974 biography of Davis, critic Bill Coleman described the album as “an insult to the intellect of the people.” Rock journalist Robert Christgau later suggested that jazz critics were not receptive to On the Corner “because the improvisations are rhythmic rather than melodic” and Davis played the organ more than trumpet. Regarding the appeal its music had for rock critics, he praised “Black Satin” but expressed reservations about the absence of a “good” beat elsewhere on the album. In a positive review for Rolling Stone, Ralph J. Gleason found the music very “lyrical and rhythmic” while praising the dynamic stereo recording and calling Davis “a magician”. He concluded by saying “the impact of the whole is greater than the sum of any part.”

Miles Davis03

Despite remaining outside the purview of the mainstream jazz community, On the Corner has undergone a critical rehabilitation in recent years, with many critics outside jazz characterizing it as “a visionary musical statement that was way ahead of its time”. In 2014, Stereogum hailed it as “one of the greatest records of the 20th Century, and easily one of Miles Davis’ most astonishing achievements,” noting the album’s mix of “funk guitars, Indian percussion, dub production techniques, loops that predict hip hop.” According to Alternative Press, the “essential masterpiece” envisioned much of modern popular music, “representing the high water mark of [Davis’] experiments in the fusion of rock, funk, electronica and jazz”. Fact characterized the album as “a frenetic and punky record, radical in its use of studio technology,” adding that “the debt that the modern dance floor owes the pounding abstractions of On the Corner has yet to be fully understood.”  Writing for The Vinyl Factory, Anton Spice described it as “the great great grandfather of hip-hop, IDM, jungle, post-rock and other styles drawing meaning from repetition.”

In a positive review for The Wire, critic Mark Fisher wrote that “the passing of time often neutralises and naturalises sounds that were once experimental, but retrospection has not made On the Corner ‘s roiling, febrile, bilious stew any easier to digest.”[16] Stylus Magazine’s Chris Smith wrote that the record’s music anticipated musical principles that abandoned a focus on a single soloist in favor of collective playing: “At times harshly minimal, at others expansive and dense, it upset quite a few people. You could call it punk.” On the Corner was cited by SF Weekly as prefiguring subsequent funk, jazz, post-punk, electronica, and hip hop. According to AllMusic’s Thom Jurek, “the music on the album itself influenced – either positively or negatively – every single thing that came after it in jazz, rock, soul, funk, hip-hop, electronic and dance music, ambient music, and even popular world music, directly or indirectly.” BBC Music reviewer Chris Jones expressed the view that the music and production techniques of On the Corner “prefigured and in some cases gave birth to nu-jazz, jazz funk, experimental jazz, ambient and even world music.” Pitchfork described the album as “longing, passion and rage milked from the primal source and heading into the dark beyond.”
Fact named On the Corner the 11th best album of the 1970s, while Pitchfork named the album the 30th best album of that decade. (by wikipedia)

Miles Davis01

Personnel:
Don Alias (drums, percussion)
Khalil Balakrishna (sitar)
Chick Corea (keyboards)
Dave Creamer (guitar)
Miles Davis (trumpet)
Al Foster (drums)
Carlos Garnett (saxophone)
Herbie Hancock (keyboards)
Billy Hart (drums)
Michael Henderson (bass)
Jack DeJohnette (drums)
Cedric Lawson (organ)
Dave Liebman (saxophone)
Reggie Lucas (guitar)
Bennie Maupin (clarinet)
John McLaughlin (guitar)
James Mtume (percussion)
Badal Roy (tabla)
Collin Walcott (sitar)
Harold Ivory Williams (keyboards)

Booklet1.jpg

Tracklist:
01. On The Corner/New York Girl/Thinkin’ One Thing And Doin’ Another/Vote For Miles 19.59
02. Black Satin 5.20
03. One And One 6.09
05. Helen Butte/Mr. Freedom X 23.18

All compositions written by Miles Davis

LabelB1

*
**

Motr Milrd Davis:

More

Gov’t Mule – Same (1995)

Muro do Classic RockGov’t Mule (pronounced Government Mule) is an American southern rock jam band, formed in 1994 as a side project of The Allman Brothers Band by guitarist Warren Haynes and bassist Allen Woody. Fans often refer to Gov’t Mule simply as Mule.

The band released their debut album, Gov’t Mule, in 1995, and have since released an additional nine studio albums, plus numerous EPs and live releases. Gov’t Mule has become a staple act at music festivals across North America, with both its members and frequent guests boasting members from other notable bands, adding various funk and blues rock elements to the band’s sound.

When The Allman Brothers Band reformed in 1989, partially in response to the popularity of their Dreams box set, Warren Haynes was added as a permanent lead guitarist and vocalist, and Allen Woody was recruited as bass guitarist. The two shared a love for 1960s power trios like Cream, The Jimi Hendrix Experience, the James Gang, and Mountain. Haynes, Woody, and drummer Matt Abts, who played with Haynes in Dickey Betts’ band, came together as Gov’t Mule during Allman Brothers breaks. They released Muro do Classic Rocktheir debut album Gov’t Mule, produced by Michael Barbiero, in 1995

Gov’t Mule is the self-titled debut studio album by southern rock jam band Gov’t Mule. The album was produced and mostly recorded live by Michael Barbiero in Bearsville Recording Studios with many tracks running into each other. “Mule” is still a concert favorite, and “Rockin’ Horse” was later recorded by The Allman Brothers Band when Warren Haynes rejoined the group for the album Hittin’ the Note.Gov’t Mule is the self-titled debut studio album by southern rock jam band Gov’t Mule. The album was produced and mostly recorded live by Michael Barbiero in Bearsville Recording Studios with many tracks running into each other. “Mule” is still a concert favorite, and “Rockin’ Horse” was later recorded by The Allman Brothers Band when Warren Haynes rejoined the group for the album Hittin’ the Note. (by wikipedia)

Gov’t Mule’s self-titled debut is a scorching set of heavy blues-rockers. Although they have some difficulty coming up with memorable original material, the band is loose, funky, gritty, and real. They have enough burning licks to make the record a worthwhile listen for guitar fanatics. (by Daevid Jehnzen)

Gov´t Mule2

Gov’t Mule live in New York, October 1995

Personnel:
Matt Abts (drums)
Warren Haynes (vocals, guitar)
Allen Woody (bass)
+

Hook Herrera (harmonica)
John Popper (harmonica)

Muro do Classic Rock

Tracklist:
01. Grinnin’ In Your Face Eddie (House) 1.36
02. Mother Earth (Chatman)Simpkins) 8.13
03. Rockin’ Horse (Allman/Haynes/Woody/Pearson) 4.07
04. Monkey Hill (Haynes/Woody) 4.39
05. Temporary Saint (Haynes) 5.45
06. Trane (Haynes/Woody/Abts) 7.28
07. Mule (Haynes/Woody/Abts) 5.40
08. Dolphineus (Haynes/Woody/Abts) 2.03
09. Painted Silver Light (Haynes) 7.07
10. Mr. Big (Rodgers/Fraser/Kirke/Kossoff) 6.08
11. Left Coast Groovies (for FZ) (Haynes/Woody/Abts) 6.53
12. World Of Difference (Haynes) 10.16

Muro do Classic Rock

*
**

Muro do Classic Rock

Jackson Browne – Saturate Before Using (1972)

FrontCover1.jpgJackson Browne is the eponymous debut album of singer Jackson Browne released in 1972. It peaked on the Billboard 200 chart at number 53.[1] Two singles were released with “Doctor My Eyes” peaking at number 8 on the Pop Singles chart and “Rock Me On the Water” reaching number 48.[2]Jackson Browne is the eponymous debut album of singer Jackson Browne released in 1972. It peaked on the Billboard 200 chart at number 53. Two singles were released with “Doctor My Eyes” peaking at number 8 on the Pop Singles chart and “Rock Me On the Water” reaching number 48.
Browne had been having minor success as a songwriter but was still unable to obtain his own recording contract. He sent a demo of “Jamaica Say You Will” to David Geffen in early 1970 and Geffen began looking for a record deal for Browne. Geffen ended up founding his own label, Asylum Records, instead and signing Browne.
The album was certified as a Gold record in 1976 and Platinum in 1997 by the RIAA.

The album is often mistakenly called Saturate Before Using, because the words appear on the album cover, which was designed to look like a water bag that would require saturation in order to cool its contents by evaporation. For this very reason, Asylum Records executives suggested to no avail that the words be removed from the album Single1cover and nearly rejected the cover art outright. However, the initial pressings not only included the text, but the cover carried a burlap-like feel to further the water bag theme.
The confusion over the title returned when the album was converted to CD format, when the words appeared on the spine of the jewel case as the album title.
Browne told the story of the cover’s creation and spoke of the title’s confusion in an interview with the album designer Gary Burden for his 2002 DVD Under The Covers: “I remember being on the phone with Gary… talking about what the album cover should be, and I happened to be in a room that had a water bag on the wall. It was just one of the things that I collected driving around on trips and stuff. And I was looking at this bag as he was saying ‘what do you think it ought to be?’ I was thinking, ‘well, it could be a water bag.’ … it said ‘saturate before using’ on the front … ‘You know, Gary, on mine, it says this on the back.’ And you said, well, so?’ And ‘if you put it on the front, people are going to think that’s the title.’ And you said, ‘don’t be ridiculous. Who would think that was the title?’ I said, ‘Yeah, you’re right.’ So, not only does everyone think that’s the title of that album, but my record company thinks that’s the title of the album.”

Publicity photo donated to the Rock Hall Archives
Jackson Browne received positive reviews from most critics. In his review for Allmusic William Ruhlmann praised the album as “An auspicious debut that doesn’t sound like a debut” and “the album has long since come to seem a timeless collection of reflective ballads touching on still-difficult subjects…and all with an amazingly eloquent sense of language. Jackson Browne’s greater triumph is that, having perfectly expressed its times, it transcended them as well.” Rolling Stone rated the album 6 of 10 stars and stated “Browne’s debut lays the groundwork for future heart-and-soul excavations. ‘Doctor My Eyes,’ an early hit single, communicates the subdued, subtle power of his half-spoken melodies, while ‘Rock Me On the Water’ and ‘Song for Adam’ foreshadow the free-ranging contemplation to come.”

The original 1972 review in Rolling Stone stated “Jackson Browne’s sensibility is romantic in the best sense of the term: his songs are capable of generating a highly charged, compelling atmosphere throughout, and–just as important–of sustaining that Single2pitch in the listener’s mind long after they’ve ended.” Ed Kelleher wrote in Circus in 1972: “Though others have done him justice, Browne is his own best interpreter. He just eases back and lets the song come. He has the soul of a poet and the stance of a troubadour. Unlike many of his contemporaries, he has not fallen victim to the trap of over-production–the record has been crafted with care and purity.”
Music critic Robert Christgau gave the album a B grade, however, was ambivalent about the whole album, writing, “The voice is pleasant, present, and unpretentious, and when I listen assiduously I perceive lyrics crafted with as much intelligence and human decency as any reasonable person could expect. Unfortunately, only critical responsibility induces me to listen assiduously. It’s not just the blandness of the music, but of the ideas as well, each reinforcing the other.” (by wikipedia)

JacksoneBrowne02

One of the reasons that Jackson Browne’s first album is among the most auspicious debuts in pop music history is that it doesn’t sound like a debut. Although only 23, Browne had kicked around the music business for several years, writing and performing as a member of the Nitty Gritty Dirt Band and as Nico’s backup guitarist, among other gigs, while many artists recorded his material. So, if this doesn’t sound like someone’s first batch of songs, it’s not. Browne had developed an unusual use of language, studiedly casual yet full of striking imagery, and a post-apocalyptic viewpoint to go with it. He sang with a calm certainty over spare, discretely placed backup — piano, acoustic guitar, bass, drums, congas, violin, harmony vocals — that highlighted the songs and always seemed about to disappear. In song after song, Browne described the world as a desert in need of moisture, and this wet/dry dichotomy carried over into much of the imagery. In “Doctor My Eyes,” the album’s most propulsive song and a Top Ten hit, he sang, “Doctor, my JacksoneBrowne03eyes/Cannot see the sky/Is this the prize/For having learned how not to cry?” If Browne’s outlook was cautious, its expression was original. His conditional optimism seemed to reflect hard experience, and in the early ’70s, the aftermath of the ’60s, a lot of his listeners shared that perspective. Like any great artist, Browne articulated the tenor of his times. But the album has long since come to seem a timeless collection of reflective ballads touching on still-difficult subjects — suicide (explicitly), depression and drug use (probably), spiritual uncertainty and desperate hope — all in calm, reasoned tones, and all with an amazingly eloquent sense of language. Jackson Browne’s greater triumph is that, having perfectly expressed its times, it transcended those times as well. (The album features a cover depicting Browne’s face on a water bag — an appropriate reference to its desert/water imagery — containing the words “saturate before using.” Inevitably, many people began to refer to the self-titled album by that phrase, and when it was released on CD, it nearly became official — both the disc and the spine of the jewel box read Saturate Before Using.) (by William Ruhlmann)

JacksoneBrowne04

Joni Mitchell + Jackson Browne

Personnel:
Jackson Browne (guitar, piano, vocals)
David Campbell (viola)
Jim Gordon (organ)
Leland Sklar (bass)

+
Jesse Ed Davis (guitar on 04.)
Craig Doerge (piano on 05., 09. + 10.)
Jimmie Fadden (harmonica)
David Jackson (piano on 08.)
Sneaky Pete Kleinow (pedal steel-guitar on 08.)
Russ Kunkel (drums, congas on 04. + 07.)
Albert Lee (guitar on 02. + 07.)
Clarence White (guitar on 01.)
+
background vocals:
David Crosby – Graham Nash

BackCover1.jpg

Tracklist:
01. Jamaica Say You Will 3.26
02. A Child In These Hills 4.00
03. Song For Adam 5.23
04. Doctor My Eyes 3.17
05. From Silver Lake 3.52
06. Something Fine 3.49
07. Under The Falling Sky 4.10
08. Looking Into You 4.19
09. Rock Me On The Water 4.15
10. My Opening Farewell 4.45

All songs written by Jackson Browne
Leah Kunkel composed the vocal counter-melody on 05.

LabelB1

*
**