Unknown author – Jimi Hendrix – Extensive official – non-official discography + lyrics (1986)

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James Marshall “Jimi” Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American guitarist, songwriter and singer.

Although his mainstream career spanned only four years, he is widely regarded as the greatest and one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century.

The Rock and Roll Hall of Fame describes him as “arguably the greatest instrumentalist in the history of rock music.”

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Born in Seattle, Washington, Hendrix began playing guitar at age 15. In 1961, he enlisted in the US Army, but was discharged the following year. Soon afterward, he moved to Clarksville, then Nashville, Tennessee, and began playing gigs on the chitlin’ circuit, earning a place in the Isley Brothers’ backing band and later with Little Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after bassist Chas Chandler of the Animals became his manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: “Hey Joe”, “Purple Haze”, and “The Wind Cries Mary”. He achieved fame in the US after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the US. The double LP was Hendrix’s most commercially successful release and his first and only number one album. The world’s highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death in London from barbiturate-related asphyxia in September 1970.

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Hendrix was inspired by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in popularizing the previously undesirable sounds caused by guitar amplifier feedback. He was also one of the first guitarists to make extensive use of tone-altering effects units in mainstream rock, such as fuzz distortion, Octavia, wah-wah, and Uni-Vibe. He was the first musician to use stereophonic phasing effects in recordings. Holly George-Warren of Rolling Stone commented: “Hendrix pioneered the use of the instrument as an electronic sound source. Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began.”

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Hendrix was the recipient of several music awards during his lifetime and posthumously. In 1967, readers of Melody Maker voted him the Pop Musician of the Year and in 1968, Billboard named him the Artist of the Year and Rolling Stone declared him the Performer of the Year. Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. Rolling Stone ranked the band’s three studio albums, Are You Experienced (1967), Axis: Bold as Love (1967), and Electric Ladyland (1968), among the “500 Greatest Albums of All Time”, and they ranked Hendrix as the greatest guitarist and the sixth-greatest artist of all time. Hendrix was named the greatest guitarist of all time by Rolling Stone in 2023. (wikipedia)

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And here´s a little “fanzine” from the 80´s … that was a time when we didn’t have the internet and therefore had to rely on such sources to find out as much as possible about this great artist.
Now completely outdated, of course, but still a fond memory of those days when freaks (somewhere in the world, perhaps from the Netherlands) took it upon themselves to produce such brochures (54 pages).

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The back of this magazine:
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Beach Boys – Surfin’ U.S.A. (1963)

FrontCover1The Beach Boys are an American rock band formed in Hawthorne, California, in 1961. The group’s original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, and friend Al Jardine. Distinguished by their vocal harmonies, adolescent-oriented lyrics, and musical ingenuity, they are one of the most influential acts of the rock era. They drew on the music of older pop vocal groups, 1950s rock and roll, and black R&B to create their unique sound. Under Brian’s direction, they often incorporated classical or jazz elements and unconventional recording techniques in innovative ways. (wikipedia)

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Surfin’ U.S.A. is the second studio album by the American rock band the Beach Boys, released March 25, 1963 on Capitol Records. It reached number 2 in the US during a chart stay of 78 weeks, eventually being certified gold by the RIAA, and brought the group newfound national success. It was led by one single, its title track with the B-side “Shut Down”. In the UK, the album was released in late 1965 and reached number 17.

The majority of the album’s recording commenced in the first week of 1963, three months after the release of Surfin’ Safari. Like the group’s debut album, production was credited ostensibly to Capitol’s representative for Artists and Repertoire, Nick Venet, although bandleader Brian Wilson was heavily involved in the album’s composition. The album marks the beginning of his practice to doubletrack vocals, resulting in a fuller sound.

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In 1990, Brian Wilson reflected on Surfin’ U.S.A. in liner notes which accompanied its first CD issue:

By the time I got to the album, Surfin’ USA, I was more experienced at producing. The album Surfin’ Safari was practice for me. … This album showcased our voices. We were just kids, but we were serious about our craft. The point being that when you are given the chance, you do your best. … I think that I was a good coach for the boys. I didn’t like second-rate vocals. It was either the best or nothin’, in my opinion. The boys picked up. We had a good understanding between us and I was their leader. We got it done relatively fast in the studio. … On this album, we had gotten into a fast pace: almost athletic in nature. It was because “Surfin’ USA” was such a smash hit on the radio. It was the big time for us. … Production-wise, this album was an early Brian Wilson production. (wikipedia)

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The real breakthrough, as Brian Wilson asserts himself in the studio as both songwriter and arranger on a set of material that was much stronger than Surfin’ Safari. Besides the hit title track and its popular drag-racing flip side (“Shut Down”), this has a lovely, heartbreaking ballad (“Lonely Sea”) and a couple of strong Brian Wilson originals (“The Noble Surfer” and “Farmer’s Daughter”). There are also a surprisingly high quotient of instrumentals (five) that demonstrate that, before session musicians took over most of the parts, the Beach Boys could play respectably gutsy surf rock as a self-contained unit. Indeed, the album as a whole is the best they would make, prior to the late ’60s, as a band that played most of their instruments, rather than as a vehicle for Brian Wilson’s ideas. The LP was a huge hit, vital to launching surf music as a national craze, and one of the few truly strong records to be recorded by a self-contained American rock band prior to the British Invasion. (by Richie Unterberger)

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Personnel:
Mike Love (vocals)
David Marks (guitar, vocals)
Brian Wilson (bass, vocals, organ)
Carl Wilson (guitar, vocals)
Dennis Wilson (drums, background vocals)

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Tracklist:
01. Surfin’ U.S.A. (Berry/Wilson) 2.32
02. Farmer’s Daughter (Wilson/Love) 1.53
03. Misirlou (Roubanis/Wise/Leeds/Russell) 2.07
04. Stoked (Wilson) 2.03
05. Lonely Sea (Wilson/Usher) 2.26
06. Shut Down (Wilson/Christian) 1.54
07. Noble Surfer (Wilson/Love) 1.56
08. Honky Tonk (Doggett/Sheperd/Scott/Butler) 2.06
09. Lana (Wilson) 1.45
10. Surf Jam (Wilson) 2.15
11. Let’s Go Trippin’ (Dale) 2.02
12. Finders Keepers (Wilson/Love) 1.42

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Liner Notes

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Brave New World – Impressions On Reading Aldous Huxley (1972)

LP FrontCover1This band emerged from Hamburg and lasted only a few years. It included a mixture of local musicians and two “foreigners”. The German musicians were Reinhart Firchow (recorders, flutes, ocarina, stylophone, percussion, vocals), Lucas Lindholm (bass, bass fiddle, organ, piano), Dicky Tarrach (drums, percussion), Herb Geller (flutes, cor anglais, alto/soprano/tenor saxes, organ), the Irishman John O’Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Esther Daniels (vocals). As you can tell from the name of the band and one album title, their coming together was to make their instrumental interpretation of Aldous Huxley’s novel – A Brave New World. Being almost entirely an instrumental band (apart from some occasional voices) they created a most unique sound which combined together successfully different styles such as folk, psychedelic rock and electronics. Their use of wind instruments (woodwinds), peculiar percussion patterns, flute, saxophones and a stylopohone gives their music a special otherworldly sound. A possible sound-alike would be Annexus Quam (in the psychedelic rock approach) and Between (in the ethereal, atmospheric sound). Sadly, after they released Impressions on Reading Aldous Huxley in 1972 and then dissolved. It is commonly referred to as an essential album in any krautrock album collection. (by Assaf Vestin)

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Although Germany’s early Krautrock scene took on many forms from spoken word polito-rock and heavy guitar based progressive rock to jazz-fusion and a slightly more progressive version of what would become known simply as Deutschrock, the best and most authentic form of the Kraut scene came from the bands that pushed the boundaries of the world of unrestrained psychedelia. Bands like Amon Duul II, Can, Cluster and countless others who focused more on transcendental dreamy atmospheres and mind-bending lysergic tones and timbres offered true escapism into hitherto unthinkable soundscapes that altered the very nature of the music industry itself and in the process crafted musical journeys that were more like a multi-dimensional awakening rather than a mere musical escapade.

While many of the aforementioned bands are widely known, there were also many that existed for very short time, recorded a mere single album and then dissipated into the history books and swept aside from the tide of musical changes that have ensued over the following decades. Coming from Hamburg, the kosmische BRAVE NEW WORLD released its one and only contribution to the greater Kraut scene but what a unique album it was. IMPRESSIONS ON READING ALDOUS HUXLEY was released in 1972 and as the title clearly states inspired by the English writer and philosopher who wrote nearly 50 books and illustrated the commonalities between Western and Eastern mysticism with “The Doors Of Perception” most famously having been the inspiration behind the moniker and subject matter of the US band The Doors. This band too took its name from another Huxley novel that appeared in 1932.

BRAVE NEW WORLD was created by Reinhart Firchow (recorders, flutes, ocarina, Stylophone, percussion, vocals), John O’Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Herb Geller (flutes, cor anglais, saxophones, organ) and along for the ride was Dicky Tarrach (drums, percussion), Lucas Lindholm (bass, bass fiddle, organ, piano) and Esther Daniels (voice). Irishman John O’Brien-Docker had previously played on Die City Preachers and Marcel, and also recorded as Inga & John, the Inga Rumpf of Frumpy fame. IMPRESSIONS ON READING ALDOUS HUXLEY emerged as one of the most eclectic Kraut offerings of the era. Through its seven psych-electronic fueled tracks, the band engaged in a freeform consciousness stream in the vein of Annexus Quam, the cyclical psychedelic grooves of Amon Duul II, jazz-tinged flavors from the Embryo book as well as rock oriented guitar soloing and heavy doses of lysergic organ runs.

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Add some ethnic flavors in the vein of Agitation Free, a dash of whimsical vocal incantations from time to time in tandem with occasional pop hooks, dreamy folk inspired flute flavors and no clear linear delivery and it doesn’t take long at all to discover you’ve entered some truly unique territory on this under the radar Kraut gem. Although some classic Krautrock albums can conjure up some strange and freaky emotional responses, IMPRESSIONS ON READING ALDOUS HUXLEY offers one of those pleasant hallucinogenic trips with a colorful palette of perfectly orchestrated transitions from various forms of musical motifs to another that don’t dance too deep in the darkness but rather keep things just above the surface to allow the light to shine in. The whole affair evokes a triumphant return to the sacred balance beyond the corrupted control systems of our planetary prison complex.

This is a bizarre little album that is really like going on a 40-minute journey since the album starts off in a happy flute dominated Medieval folk setting and then slowly transmogrifies into one new musical motif after another becoming more comfortable in its idiosyncratic delivery system. Towards the end of the album there are moments that remind you of what the chamber rock bands such as Univers Zero and Present would adopt and create entire careers behind with slow brooding cadences that spiral out in cyclical loops and allow improvisational contrapuntal elements to congregate into bizarre mood altering concoctions. Despite the transcendental disconnect that the album paints in certain plentitude, the return back to jazzy and rock oriented motifs recallibrates the mood setting as do the pastoral flute segments, sometimes both styles having a call and response conversational effect.

Any way you slice it, BRAVE NEW WORLD delivered a beautiful specimen of Krautrock like no other and this stand alone album still sounds utterly unique nearly 50 years after its release. By craftily taking many of the concurrent strategies of the contemporary Krautrock scene and weaving them into one single tapestry of an album’s length, IMPRESSIONS ON READING ALDOUS HUXLEY seems like it prognosticated its one-shot nature by cramming an entire career of ideas into a single musical offering. One of those rare examples of a freaky progressive psychedelic experience that takes you through myriad soundscapes but exudes an uplifting vibe. Think of this band as a mix of other Krautsters such as Between, Amon Duul II, Embryo, Agitation Free, Achim Reichel, Annexus Quam and Tomorrow’s Gift and you’re on the right path. Definitely one of the more adventurous and experimental of Germany’s diverse musical movement that was a response to England’s psychedelic rock 60s. Responses to Kraut bands obviously vary because the impact is more on an emotional level rather than a technical one but for my tastes BRAVE NEW WORLD delivered the perfect example of the eclectic and psychedelic German stylistic approach. (by Silly Puppy)

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Personnel:
John O’Brien-Docker (guitar, organ, percussion, wind chomes, spoken voice bei 07.)
Reinhart Firchow (recorders, flute, ocarina, stylophone, percussion, vocals)
Herb Geller (saxophone, flute, organ, cor d’anglais)
Lucas Lindholm (bass, fiddle, keyboards)
Dicky Tarrach (drums, percussion)
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Esther Daniels (spoken voice bei 03.)

LP BookletTracklist:
01. Prologue (Firchow/O’Brien-Docker) 1.00
02. Alpha, Beta, Gamma, Delta, Epsilon… Ford (O’Brien-Docker) 7.38
03. Lenina (Herb Geller/John O’Brien-Docker) – 4:19
04. Soma (John O’Brien-Docker/Herb Geller) – 5:17
05. Malpais Corn Dance (John O’Brien-Docker) – 3:23
06. The End (John O’Brien-Docker/Reinhart Firchow) – 17:39
07. Epilogue (Reinhart Firchow/John O’Brien-Docker) – 1:25

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New York Philharmonic (Leonard Bernstein) – Symphonie Fantastique (Berlioz) (1968)

FrontCover1The Symphonie fantastique is a symphony written by the French composer Hector Berlioz. It is one of the most famous Romantic works for orchestra. The official title of the piece is Episode de la Vie d’un Artiste (An Episode in the Life of an Artist), but it is always called by its subtitle Symphonie Fantastique which means Fantasy Symphony. The “Fantasy” refers to the story that is described by the music. (Fantasy Symphony is a better translation than Fantastic Symphony because fantastique is not like the modern meaning of the English word fantastic).

The symphony lasts about 45 minutes and is divided into 5 movements. Berlioz himself wrote down the story that the music describes, just as Beethoven had done with his Sixth Symphony. Berlioz’s work is about a young artist. In the music the young artist is represented by a tune. This tune is often heard during the symphony. That is why it is called an “idée fixe”, which means a “fixed idea”, i.e. an idea that keeps coming again and again. An idée fixe is what Wagner would have called a leitmotif (a tune which is always used to describe a particular person or thing in a piece of music). The first performance took place at the Paris Conservatoire in December 1830. Berlioz made several changes to the music between 1831 and 1845.

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The symphony is played by an orchestra consisting of 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 2 clarinets (1st doubling E-flat clarinet), 4 bassoons, 4 French horns, 2 trumpets, 2 cornets, 3 trombones, 2 ophicleides (originally one ophicleide and one serpent), 2 pairs of timpani, snare drum, cymbals, bass drum, bells in C and G, 2 harps, and strings.

The symphony is an example of programme music because it describes something apart from the music. In this case it describes a story. This is what the composer wrote:

First movement: A young artist was deeply in love with a girl who did not love him. He felt so desperately sad that he tried to poison himself with opium. He did not take enough to kill him. It just made him fall into a deep sleep. In this sleep he imagined all sorts of things. His beloved came to him in a dream. She changes into a musical theme (the idée fixe) which he just cannot forget. He imagines her love and his tender feelings for her.

Second movement: He meets her at a ball. Everyone is dancing. He finds his beloved among the crowd.

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Third movement: In the country he hears two shepherds who call to one another on their pipes. The trees sway gently in the wind. The young artist starts to feel happier. Then he sees his beloved again. He starts to worry that she may not want him any more. The shepherd music starts again, but it is only one of the shepherds playing. The sun sets. Far away a thunderstorm is heard.

The fourth movement: He dreams that he has killed his beloved in a fit of anger. He is now being taken to the scaffold where he will have his head chopped off. A march is played as he is taken away. For a moment he thinks of his beloved again, then the axe falls and he is executed.

The fifth movement: The artist is at the Witches’ Sabbath. There are lots of ghosts and monsters around who have come to watch him being buried. His beloved is heard, but her tune now sounds horrible. She has come to the Sabbath. She joins the witches and they dance while the funeral music is heard.

The first movement: Rêveries – Passions (Daydreams – Passions)
The first movement has a slow introduction. The tune heard on the violins is already nearly like the idée fixe. The idée fixe is heard in its full form when the music goes into the fast section. It is played by the violins and solo flute. The rhythm that the lower string instruments play underneath is very agitated. The form of the movement is not much like the traditional sonata form. Berlioz was more interested in the idée fixe which keeps haunting the young artist all the way through.

The second movement: Un bal (A ball)
The ball (i.e. a party with dancing) is represented in the music by a lively waltz. The two harps make it sound very graceful. Twice the waltz is interrupted by the idée fixe.

The third movement: Scène aux champs (Scene in the country)
The two shepherds who are playing to one another are represented by a cor anglais (sitting in the orchestra) and an oboe which is played offstage so that it sounds distant. Then the main gentle countryside theme is heard on solo flute and violins. The idée fixe returns in the middle of the movement. The sound of distant thunder at the end of the movement is played by four timpani.

The fourth movement: Marche au supplice (March to the scaffold)
The movement starts with timpani rumbling and horns starting up the march theme. Then the cellos and double basses start the march in its full form, soon taken over by the violins. Just before he is executed there is a short repetition of the idée fixe on a solo clarinet, then the axe falls (a loud chord) and his head falls into the basket (one plucked note passed from the violins, through the violas, cellos and then double basses).

The fifth movement: Songe d’une nuit de sabbat (Dream of a witches’ Sabbath)
The idée fixe has now become a “vulgar dance tune”, it is played on the E-flat clarinet. There are lots of effects, including ghostly col legno playing in the strings, the bubbling of the witches’ cauldron played by the wind instruments. As the dance reaches a climax we hear the Dies Irae (Day of Judgement) melody together with the Ronde du Sabbat (Sabbath Round) which is a wild fugue.

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In 1827 Berlioz went to a performance of Shakespeare’s play Hamlet. It was played in English by a theatre group from England. Berlioz fell in love with Irish actress Harriet Smithson who played the part of Ophelia, He did not actually meet her, he just saw her acting on stage, but he sent her lots of love letters, but she left Paris without meeting him. He then wrote his Symphonie Fantastique. He then wrote the symphony to describe his love for her and his unhappiness because she was not interested in him. When Harriet heard the symphony two years after it was first performed, she realized that it was a symphony about her. She eventually met Berlioz and they were married on 3 October 1833. For several years the marriage was happy, although they did not speak one another’s language. However, after nine years they separated. (wikipedia)

Shit happens …

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Pretty spooky stuff. And it’s spooky because those sounds you’re hearing come from the first psychedelic symphony in history, the first musical description ever made of a trip, written one hundred thirty odd years before the Beatles, way back in 1830 by the brilliant French composer Hector Berlioz (That’s Berlioz: the Z is pronounced). He called it Symphonie Fantastique, or “fantastic symphony,” and fantastic it is, in every sense of the word, including psychedelic. And that’s not just my own idea: It’s a fact, because Berlioz himself tells us so. Just listen to these first two sentences of his own program note that he wrote describing the symphony.

Doesn’t sound very different from modern days, does it? And we have every reason to suspect that the morbid young musician Berlioz is talking about is none other than Hector himself. He certainly did have fits of lovesick despair we’re told, and he was a creature of wild imagination–wild enough to have these visions and fantasies without taking a dose of anything. His opium was simply his genius, which could transform these grotesque fantasies into music. Now listen to the next sentence of that same program-note: “Even the beloved one, herself, [the one who’s made him lovesick] has become for him a melody, like a fixed idea which he hears everywhere, always returning.” Unquote. A fixed idea–remember that, in French — idée fixe, in other words, an obsession. You all know what an obsession is, it’s something that takes hold of your mind and won’t let go. Well, in this symphony the obsession is Berlioz’s beloved, she who has made him so desperately lovesick. She haunts the symphony; wherever the music goes, she keeps intruding and interrupting, returning in endless forms and shapes. (Leonard Bernstein)

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Personnel:
New York Philharmonic conducted by Leonard Bernstein

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Tracklist:
01. Rêveries – Passions (Daydreams – Passions) 13.14
02. Un bal (A Ball) 6.11
03. Scène aux champs (Scene In The Country) 15.03
04. Marche au supplice (March To The Scaffold) 7.03
05. Songe d’une nuit de sabbat (Dream Of A Witches’ Sabbath) 9.42

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A German release:
German Edition

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Barbara Thompson – Barbara Thompson’s Jubiaba (1978)

FrontCover1Barbara Gracey Thompson MBE (27 July 1944 – 9 July 2022) was an English jazz saxophonist, flautist and composer. She studied clarinet, flute, piano and classical composition at the Royal College of Music, but the music of Duke Ellington and John Coltrane made her shift her interests to jazz and saxophone. She was married to drummer Jon Hiseman of Colosseum from 1967 until his death in 2018.

Around 1970, Thompson was part of Neil Ardley’s New Jazz Orchestra and appeared on albums by Colosseum. Beginning in 1975, she was involved in the foundation of three bands:

United Jazz and Rock Ensemble, a “band of bandleaders” with Wolfgang Dauner (p), Volker Kriegel (g), Albert Mangelsdorff (tb), Eberhard Weber (b), Ian Carr (tp), Charlie Mariano (sax), Ack van Rooyen (tp) and Jon Hiseman (dr).
Barbara Thompson’s Jubiaba (9-piece Latin/rock band) including Peter Lemer, Roy Babbington, Henry Lowther, Ian Hamer, Derek Wadsworth, Trevor Tomkins, Bill Le Sage, Glyn Thomas.
Barbara Thompson’s Paraphernalia, a band with Peter Lemer (p), Billy Thompson (v), Dave Ball (b) and Jon Hiseman on drums.

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She was awarded the MBE in 1996 for services to music. Due to Parkinson’s disease, which was diagnosed in 1997, she retired as an active saxophonist in 2001 with a farewell tour. After a period of working as a composer exclusively, she returned to the stage in 2003 for a tour with Colosseum.

After she was hospitalised with atrial fibrillation, her attendance in an accident and emergency department was featured in an episode of the Channel 4 fly-on-the-wall television documentary 24 Hours in A&E in October 2020.

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Thompson worked closely with Andrew Lloyd Webber on musicals[5] such as Cats and Starlight Express, his Requiem, and Lloyd Webber’s 1978 classical-fusion album Variations. She wrote several classical compositions, music for film and television, a musical of her own and songs for the United Jazz and Rock Ensemble, Barbara Thompson’s Paraphernalia and her big band Moving Parts. She was a regular, along with her husband drummer Jon Hiseman and bassist David “Dill” Katz in the underground “Cellar Bar” at South Hill Park Arts Centre in Bracknell during the late 1970s and 1980s.

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She played the incidental music in the ITV police series A Touch of Frost, starring David Jason. She also played flute on Jeff Wayne’s Musical Version of The War of the Worlds.

Thompson was married to Colosseum drummer Jon Hiseman, from 1967 until his death in June 2018. The couple’s son Marcus was born in 1972, and their daughter Anna (now known as singer/songwriter Ana Gracey) in 1975.

An autobiography, Journey to a Destination Unknown, was published in 2020. Thompson died on 9 July 2022, aged 77, after having Parkinson’s disease for 25 years. (wikipedia)

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Jubiaba – Portugese for Old Voodoo Priest – is a wonderful album, marvellously arranged by Don Airey & starring an incredible Latin based fusion band. (rarevinyl.com)

With her JUBIABA BAND, clear Latin melodies and rhythms find their way into her musical universe.

In other words. Another highlight in the career of the great Barbara Thompson …

… one of the few albums on which her husband Jn Hiseman is not on the drums.

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Personnel:
Roy Babbington (bass, guitar)
Ian Hamer (trumpet)
Peter Lemer (piano, synthesizer)
Henry Lowther (trumpet)
Bill Le Sage (vibraphone, percussion)
Glyn Thomas (percussion)
Barbara Thompson (saxophone, flute)
Trevor Tomkins (drums)
Derek Wadsworth (trombone)

Liner Notes

Tracklist:
01. The Funky Flunky (Thompson) 6.20
02. Seega (Thomas) 4.15
03. Helena (Wadsworth) 5.32
04. Cuban Thing (Thomas) 5.00
05. Black Pearl (Wadsworth) 5.10
06. Touch Of Blue (Thompson) 4.32
07. Slum Goddess (Lemer) 6.04

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Bo Diddley – Bo Diddley´s Beach Party (1963)

FrontCover1Ellas Otha Bates (December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, Elvis Presley, the Beatles, the Rolling Stones, the Animals, George Thorogood, Syd Barrett, and the Clash.

His use of African rhythms and a signature beat, a simple five-accent hambone rhythm, is a cornerstone of hip hop, rock, and pop music. In recognition of his achievements, he was inducted into the Rock and Roll Hall of Fame in 1987, the Blues Hall of Fame in 2003, and the Rhythm and Blues Music Hall of Fame in 2017. He received a Lifetime Achievement Award from the Rhythm and Blues Foundation and the Grammy Lifetime Achievement Award. Diddley is also recognized for his technical innovations, including his use of tremolo and reverb effects to enhance the sound of his distinctive rectangular-shaped guitars. (wikipedia)

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Bo Diddley’s Beach Party is the eleventh album by rock musician Bo Diddley. Recorded live in concert in July 1963 at the Beach Club in Myrtle Beach, South Carolina, it is one of rock music’s earliest live remote recordings. The album was a success in the UK Album Charts reaching #13 on July 3 and stayed on the charts for 6 weeks.(wikipedia)

A blistering live album, especially in mono, cut by Bo Diddley and company in Myrtle Beach, South Carolina on July 5 and 6, 1963. This album contains 30-plus minutes of the best live rock & roll ever issuedd on record. Diddley and company are “on” from the get-go with a killer instrumental erroneously credited as Chuck Berry’s “Memphis” (which it isn’t), that’s a showcase for Diddley’s attack on his instrument and a crunching assault by the rest of the band (all in that shave-and-a-haircut-two-bits beat), cymbals on top of an overloaded bass, and what sounds like every rhythm guitar in the world grinding away. And even that instrumental seems to “talk” to the audience, telling a story.

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Once Diddley’s voice comes in on “Gunslinger,” the picture is complete, and perfection is achieved on the frantic, gyrating “Hey, Bo Diddley.” The crowd is driven into an audible frenzy as the thundering band crunches in time to Diddley’s sometimes shrieking punctuation around his rhymes. Some repertory here may elude modern listeners; this was a dance, and any tune that could be turned into one was fair game, even “On Top of Old Smokey” as a slow number, which leads into the frenetic “Bo Diddley’s Dog.” Diddley does even better adapting the Larry Verne novelty tune “Mr. Custer,” making it his own, and has some fun on “Bo Waltz” before switching gears to the softer, ballad-like “What’s Buggin’ You,” all of which leads to the roaring finale on “Road Runner.” Diddley and the band show off most of their bag of tricks amid the man’s joyous, buoyant laughter.

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Apparently, the shows weren’t entirely a laughing matter: the police threatened to arrest the band when Jerome Green leaped into the audience with his maracas waving and the female members surrounded him; this all happening in the still-segregated south of 1963. Mishaps, provocations, and non-musical spontaneity aside, this is some of the loudest, raunchiest guitar-based rock & roll ever preserved for public consumption, and it captures some priceless moments. “I’m All Right” was lifted wholesale by the Rolling Stones for their live sets, from 1964 until as late as the end of 1966. The whole approach to music-making here lay at the core of practically every note of music that the Stones recorded or performed for the first three years of their history; indeed, no Stones collection is truly complete without this record attached to it. (by Bruce Eder)

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Personnel:
Bo Diddley (vocals, lead guitar)
Jerome Green (drums, maracas, background vocals)
Norma-Jean Wofford (The Duchess) (guitar, background vocals)

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Tracklist:
01. Memphis 2.26
02. Gunslinger 2.43
03. Hey Bo Diddley 3.02
04. Old Smokey 3.18
05. Bo Diddley’s Dog 3.58
06. I’m All Right 4.00
07. Mr. Custer 3.23
08. Bo’s Waltz 3.21
09. What’s Buggin’ You 2.51
10. Road Runner 4.18

All songs written by Elias McDaniel
except 01.: written by Chuck Berry

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Liner Notes

More from Bo Diddley in this blog:
More

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Tim Buckley – Same (1966)

FrontCover1Timothy Charles Buckley III (February 14, 1947 – June 29, 1975) was an American musician. He began his career based in folk rock, but subsequently experimented with genres such as psychedelia, jazz, the avant-garde, and funk paired with his unique five-octave vocal range. His commercial peak came with the 1969 album Happy Sad, reaching No. 81 on the charts, while his experimental 1970 album Starsailor went on to become a cult favorite. The latter contained his best known song, “Song to the Siren.”

On June 28, 1975, Buckley completed a short tour with a show in Dallas, playing to a sold-out crowd of 1,800 people. He celebrated the end of the tour with a weekend of drinking with his band and friends. On the night of June 29, he accompanied longtime friend Richard Keeling to his house. At some point, Keeling produced a bag of heroin, some of which Buckley snorted.

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Buckley’s friends took him home and, seeing his inebriated state, his wife Judy laid him on the living-room floor and questioned his friends as to what had happened.[10] She moved Buckley into bed. When she checked on him later, she found that he was not breathing and had turned blue. Attempts by friends and paramedics to revive him were unsuccessful, and he was pronounced dead on arrival.

The coroner’s report stated that Buckley died at 9:42 p.m. on June 29, 1975, from “acute heroin/morphine and ethanol intoxication due to inhalation and ingestion of overdose”.

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Tim Buckley is the debut album by Los Angeles based singer-songwriter Tim Buckley, released in October 1966. Most of the songs on it were co-written by Buckley and Larry Beckett while they were in high school. It was recorded at Sunset Sound in Los Angeles, California.

In August 1966, Buckley recorded his self-titled debut album in three days in Los Angeles. He was often unhappy with his albums after they were recorded and described his debut album as “like Disneyland”. The record featured Buckley and a band of Underwood and Orange County friends. Underwood’s mix of jazz and country improvisation on a Telecaster guitar became a distinctive part of Buckley’s early sound. Jac Holzman and Paul Rothchild’s production and Jack Nitzsche’s string arrangements cemented the record’s mid-’60s sound.

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The album’s folk-rock style was typical of the time, although many people, including Underwood, felt the strings by Nitzsche “did not enhance its musical quality.” Critics took note of Buckley’s distinctive voice and tuneful compositions.

Underwood considered the record to be “a first effort, naive, stiff, quaky and innocent [but] a ticket into the marketplace”. Holzman expressed similar sentiments and thought Buckley wasn’t comfortable in his own musical skin. Larry Beckett suggested the band’s desire to please audiences held it back.

Elektra released two singles promoting the debut album, “Wings” with “Grief in My Soul” as the B-side, and “Aren’t You the Girl”/”Strange Street Affair Under Blue.” (wikipedia)

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Buckley’s 1966 debut was the most straightforward and folk-rock-oriented of his albums. The material has a lyrical and melodic sophistication that was astounding for a 19-year-old. The pretty, almost precious songs are complemented by appropriately baroque, psychedelic-tinged production. If there was a record that exemplified the ’60s Elektra folk-rock sound, this may have been it, featuring production by Elektra owner Jac Holzman and Doors producer Paul Rothchild, Love and Doors engineer Bruce Botnick, and string arrangements by Jack Nitzsche.

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That’s not to diminish the contributions of the band, which included his longtime lead guitarist Lee Underwood and Van Dyke Parks on keyboards. Buckley was still firmly in the singer-songwriter camp on this album, showing only brief flashes of the experimental vocal flights, angst-ridden lyrics, and soul influences that would characterize much of his later work. It’s not his most adventurous outing, but it’s one of his most accessible, and retains a fragile beauty. (by Richie Unterberger)

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Personnel:
Tim Buckley (vocals, guitar)
Jim Fielder (bass)
Van Dyke Parks (piano, celesta, harpsichord)
Billy Mundi (drums, percussion)
Lee Underwood (guitar)
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Jack Nitzsche (string arrangements)

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Tracklist:
01. I Can’t See You (Beckett/Buckley) 2.42
02. Wings (Buckley) 2.34
03. Song Of The Magician (Beckett/Buckley) 3.08
04. Strange Street Affair Under Blue (Beckett/Buckley) 3.13
05. Valentine Melody (Beckett/Buckley) 3.44
06. Aren’t You the Girl ? (Buckley) 2.05
07. Song Slowly Song (Beckett/Buckley) 4.16
08. It Happens Every Time (Buckley) 1.52
09. Song For Jainie (Buckley) 2.46
10. Grief In My Soul (Beckett/Buckley) 2.08
11. She Is (Beckett/Buckley) 3.08
12. Understand Your Man (Buckley) 3.10

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The now deleted website:
Website

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