Wishbone Ash – There’s The Rub (1974)

LPFrontCover1Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There’s the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted “Two of the Ten Most Important Guitarists in Rock History” (Traffic magazine 1989), and to appear in the “Top 20 Guitarists of All Time” (Rolling Stone). Melody Maker (1972) described Powell and Turner as “the most interesting two guitar team since the days when Beck and Page graced The Yardbirds”. Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth.

Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash’s founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield.[6] The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993.[6] This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future.

There’s the Rub is the fifth studio album by rock band Wishbone Ash. It is the first album to feature guitarist/vocalist Laurie Wisefield, who would be a major part of the band’s creative direction for the next 11 years.

The title is taken from Shakespeare’s Hamlet; “To sleep—perchance to dream: ay, there’s the rub.”

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The track “F.U.B.B.” caused controversy upon the album’s release because of the acronym’s meaning (“Fucked Up Beyond Belief”). Moreover, the haunting ballad “Persephone” would go on to become one of the band’s most popular live songs. The lyric of “Lady Jay” is based on the Dartmoor folk legend about Kitty Jay.

The cover art designed by Hipgnosis shows a cricketer rubbing (in effect, polishing) a cricket ball on his trousers, leaving a mark – a common practice by fast bowlers who do so to make one side of the leather ball shinier than the other. This helps the ball to swing as it travels through the air after being bowled, so making it harder for the batsman to play it.[citation needed]

The album peaked at No. 16 in the UK Albums Chart.(wikipedia)

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With producer Bill Szymczyk running the sessions, the group finally gets a studio sound as solid as their concert sound. Most impressive all the way through.(by Bruce Eder)

Ash’s first album with guitarist Laurie Wisefield shows the band moving towards a more streamlined, commercial approach. That said, the band’s signature twin lead guitar sound seems to benefit from Wisefield’s use of the Les Paul and other various guitars. He is clearly qualified to take the place of the departed Ted Turner, as songs such as Silver Shoes and the bona fide Ash classic Persephone amply demonstrate. Lady Jay offers some intriguing folkish elements, as well as literate lyrics. Overall, one of the best albums from a band yet to receive the respect they truly deserve. (John Gilmore)

SingleI just discovered Wishbone Ash this year. I knew the name and had heard of Argus but was not familiar with any of their music. I first bought Argus and was blown away. I then got the s/t album and was equally impressed. I read online Four was great so I got that. It was very different (much mellower) but after a few listens I started to like it. From there I went crazy and got Pilgrimage, Front Page News, New England, the elusive Number the Brave and “There’s The Rub”. I have found that I am one of those who loves every era and album. This one is a little heavier sounding than the others. It still has the trademark Ash sound though. Even though I’ve still only heard this 3-4 times now, there’s no doubt in my mind that it’s a classic. Highly recommended! (Chris Aug)

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Personnel:
Andy Powell (guitar, mandolin,  background vocals)
Martin Turner (bass, vocals)
Steve Upton (drums, percussion)
Laurie Wisefield (guitar, steel-guitar, banjo, background vocals)
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Albhy Galuten (organ, synthesizers on 03.)
Nelson Flaco Padron (percussion on 06.)Booklet02A

Tracklist:
01. Silver Shoes 6.33
02. Don’t Come Back 5.08
“Persephone” – 7:02
“Hometown” – 4:48
“Lady Jay” – 6:00
“F.U.B.B.” – 9:33

All songs by Andy Powell – Martin Turner – Steve Upton – Laurie Wisefield

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Alfred Newman – The Diary Of Anne Frank (OST) (1959)

FrontCover1The Diary of Anne Frank is a 1959 film based on the Pulitzer Prize-winning play of the same name, which was in turn based on the diary of Anne Frank. It was directed by George Stevens, with a screenplay by Frances Goodrich and Albert Hackett. It is the first film version of both the play and the original story, and features three members of the original Broadway cast.

The film was based on the personal diary of Anne Frank, a Jewish girl who lived in hiding with her family during World War II. All her writings to her diary were addressed as “Dear Kitty”. It was published after the end of the war by her father, Otto Frank (played in the film by Joseph Schildkraut, also Jewish). All of his family members had been killed by the Nazis. The film was shot on a sound stage duplicate of the factory in Los Angeles, while exteriors were filmed at the actual building in Amsterdam.

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The film was positively received by critics and is still often considered the best film adaptation of Anne Frank’s Diary. It currently holds a 78% critics rating on Rottentomatoes.[4] It won three Academy Awards in 1960, including Best Supporting Actress for Shelley Winters. Shelley later donated her Oscar to the Anne Frank Museum. In 2006, it was honored as the eighteenth most inspiring American film on the list AFI’s 100 Years…100 Cheers. (wikipedia)

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Given the subject matter, that this is a serious film score is no surprise — as of 1958, when the movie went into production, some 14 years after the end of World War II, Hollywood had not done too many movies (forget major films) that even referred to the destruction of European Jewry by Nazi Germany, much less dealt with this event as their main subject, and everyone involved with the movie on a creative level, whatever their background, treated it as a rare and special opportunity to say something important through their work. That said, Newman’s “Overture,” which opens the album, has always seemed appropriately profound, but the rest is far more subtle, introspective, and lyrical, almost counter-intuitive to the moods, settings, and images that one associates with the Holocaust.

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That’s because Newman based his score on the interior emotional life of its characters, rather than the exterior events around them. The result is one of the more beautiful bodies of movie music ever written for a Holocaust-related movie, and one of Newman’s better psychologically oriented scores, surprisingly not far removed from his work on How Green Was My Valley. It also contains some of the most beautiful string writing of Newman’s career. The CD production gives the decades-old recordings a full, rich sound, and the annotation is extremely thorough. (by Bruce Eder)

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Personnel:
Symphonic Orchestra conducted by Alfred Newman

Alternate frontcovers:
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Tracklist:
01. The Diary Of Anne Frank (Overture) 3.41
02. Families In Hiding (The Secret Annex) 5.33
03. The First Day 5,25
04. The Captives – Spring Is Coming 4.21
05. Ericka 1.32
06. Date With Peter 4.57
07. The First Kiss 3.43
08. The Dearness Of You, Peter 7.45
09. Epilogue (I Still Believe People Are Really Good At Heart) 1.25

Music composed by Alfred Newman

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The real Anne Frank:
AnneFrank01Anne Frank (12 June 1929 – February or March 1945)

Blue Mitchell – Big 6 (1958)

FrontCover1Richard Allen “Blue” Mitchell (March 13, 1930 – May 21, 1979) was an American jazz, rhythm and blues, soul, rock and funk trumpeter and composer who recorded albums as leader and sideman for Riverside, Blue Note, and Mainstream Records.

Mitchell was born and raised in Miami, Florida. He began playing trumpet in high school, where he acquired his nickname, Blue.

After high school, he played in the rhythm and blues ensembles of Paul Williams, Earl Bostic, and Chuck Willis. After returning to Miami, he was discovered by Cannonball Adderley, with whom he recorded for Riverside Records in New York in 1958.

He then joined the Horace Silver Quintet, playing with tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Roy Brooks. Mitchell stayed with Silver’s group until the band’s break-up in 1964, after which he formed a group with members from the Silver quintet, substituting the young pianist Chick Corea for Silver and replacing Brooks, who had fallen ill, with drummer Al Foster. This group produced a number of records for Blue Note. It disbanded in 1969, after which Mitchell joined and toured with Ray Charles until 1971.

BlueMitchell03From 1971 to 1973 Mitchell performed with John Mayall, appearing on Jazz Blues Fusion and subsequent albums. From the mid-70s he recorded and worked as a session man in the genres noted previously, performed with the big band leaders Louie Bellson, Bill Holman, and Bill Berry and was the principal soloist for Tony Bennett and Lena Horne. Other band leaders Mitchell recorded with include Lou Donaldson, Grant Green, Philly Joe Jones, Jackie McLean, Hank Mobley, Johnny Griffin, Al Cohn, Dexter Gordon, and Jimmy Smith.
Death
Mitchell performed with the Harold Land quintet up until his death from cancer on May 21, 1979, in Los Angeles, at the age of 49.

Big 6 is the debut album by American trumpeter Blue Mitchell recorded in 1958 and released on the Riverside label. It contains the first recording of Benny Golson’s jazz standard “Blues March”.(wikipedia)

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Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard “There Will Never Be Another You,” the group also plays the earliest recorded version of Benny Golson’s “Blues March,” pre-dating Art Blakey’s famous recording. (by Scott Yanow)

Recorded in New York City on July 2 & 3, 1958.

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Personnel:
Curtis Fuller (trombone)
Johnny Griffin (saxophone)
Philly Joe Jones (drums)
Wynton Kelly (piano)
Blue Mitchell (trumpet)
Wilbur Ware (bass)

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Tracklist:
01. Blues March (Golson) 10.26
02. Big Six (Boone Jr.) 6.45
03. There Will Never Be Another You (Gordon/Warren) 5.05
04. Brother Ball (Mitchell) 7.28
05. “Jamph” (Curtis Fuller) 3:46
06. “Sir John (Mitchell) 8:05
07. “Promenade” (Boone) 1:40

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More from Blue Mitchell:
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BlueMitchell04Blue Mitchell (March 13, 1930 – May 21, 1979)

Doc Holliday – Same (1981)

LPFrontCover1Although they shared the stage with some of the bigger names during Southern rock’s ’70s heyday, Doc Holliday never quite managed to reach that level, but has managed to make a name for itself with fans of the genre. The band’s origin can be traced back to 1971 when guitarist and lead singer Bruce Brookshire formed a blues band called Roundhouse with his brother. By the end of the decade, Roundhouse had gained the attention of Molly Hatchet’s manager, setting into play circumstances that would see the band, now rechristened Doc Holliday, secure a deal with A&M Records in 1980. Featuring a lineup of Brookshire, guitarist Rick Skelton, keyboard player Eddie Stone, bass player John Samuelson, and drummer Herman Nixon, their self-titled debut was released the following year.

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They continued to cultivate an audience with the follow-up, Doc Holliday Rides Again, sharing bills with acts ranging from Black Sabbath and Loverboy to Gregg Allman and Molly Hatchet. However, working with producer Mack (Billy Squier, Queen) for their third album, Modern Medicine, proved to exacerbate tensions within the group. The resulting album, which saw the group try and incorporate early ’80s rock into its sound, failed miserably, costing Doc Holliday its record deal and causing the band to split up.

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However, they would reunite for 1986’s Danger Zone (which found them returning to their roots) and continue to record and tour throughout the ’80s and into the ’90s, although most of the band’s focus would shift to European markets that were proving to be more receptive during this period. In 1999, their first three albums were re-released, including their first-time issuances on CD. Brookshire released a solo album, The Damascus Road, in 2001, which was a departure to an acoustic-based record that reflected his burgeoning Christian beliefs. However, as the common thread, Brookshire continued to keep Doc Holliday together and the group released A Better Road later that same year. (by Tom Demalon)

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Should have been huge!!!!
Doc Holliday, fantastic name, fantastic band released this in 1981,having been around for approx a decade before this their debut brought them to public notice.

If you like Molly Hatchet/Blackfoot then this a band to savour,throw in a dash of 38 Special and you get the picture.

Opening with one ,two of ‘Aint No Fool’ & ‘Magic Midnight’ the band show their class immediately,good old fashioned southern rock brought upto date,certainly Hatchet being the pre eminent influence.There isnt a duff track here and why ‘A Good Woman…’ didnt break them on the charts i’ll never know.

The rest of the disc follows the same pattern,duelling guitars the way only southern band can,gruff vocals on top,incredibly this would be the 1st of two albums issued in 1981,making up for lost time i guess. (by Mr Blackwell)

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Personnel:
Bruce Brookshire (vocals, guitar)
Herman Nixon (drums)
John Samuelson (bass, vocals)
Ric Skelton (guitar, vocals)
Eddie Stone (keyboards, vocals)
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Tom Allom (piano, percussions, background vocals)
Bob Brookshire (harmonica)
Ernest C. Harris Jr. (vocals)

Booklet05ATracklist:
01. Ain’t No Fool (Brookshire) 4.05
02. Magic Midnight (Brookshire) 3.40
03. A Good Woman’s Hard To Find (Brookshire/Stone) 4.16
04. Round And Round (Brookshire) 2.55
05. Moonshine Runner (Brookshire/Stone) 4.27
06. Keep On Running (Wammack) 4.27
07. Never Another Night (Brookshire/Samuelson) 4.08
08. The Way You Do (Brookshire) 3.53
09. Somebody Help Me (Edwards) 3.07
10. I’m A Rocker (Berry) 2.57
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The Roundhouse Demo Tracks:
11. Bad Love (unknown) 3.42
12. Crazy (unknown) 3.09

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More from Doc Holliday:
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Butts Band – Same (1973)

FrontCover1Butts Band was a British and American group formed by ex-Doors members John Densmore and Robby Krieger that was active from 1973 to 1975. The band released two albums and with the exception of Krieger and Densmore, they consisted of different band personnel on each.

Butts Band came about as a consequence of the Doors trying to find a replacement for lead singer Jim Morrison who died in July 1971. The three remaining Doors had released two albums (Other Voices in 1971 and Full Circle in 1972) with Ray Manzarek and Krieger sharing vocals.[2] Unable to recruit a singer in the US, the three Doors were in London in 1973 looking for an experienced lead singer and auditioned several British singers including Howard Werth (the singer with Audience), Kevin Coyne (from Siren) and Jess Roden (who was the leader of Bronco).

Howard Werth rehearsed with the band for a week with a view to stepping into Morrison’s shoes. Elektra records founder Jac Holzman favoured Werth as he had at one stage foreseen Audience taking over the Doors’ spot on Elektra – but Audience had fallen apart and he now saw Howard and the Doors merging as the ‘new Doors’. However, the three remaining Doors felt that adding a new singer wasn’t working out and decided to call time on The Doors. With Manzarek returning to Los Angeles, Krieger and Densmore began looking for a new project, linking up with Roden, Phil Chen and Roy Davies to form the Butts Band (allegedly named after a cave where Roden’s previous band used to practice).

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The band signed with Blue Thumb and began working on their first album with long-time Doors’ sound engineer/co-producer Bruce Botnick taking the producer role.[3] Recording was split between studios in London (three weeks at Olympic Studios and in Kingston, Jamaica (for another three weeks) on their way home to California. Their debut, the self-titled album Butts Band was released in 1973. Krieger was quoted as saying, “It’s not ‘head music’, it’s ‘heart music’. It’s ‘up music’. It’s music you can dance to.”

Following the album’s release the band appeared on The Midnight Special and the Old Grey Whistle Test. Following the pressure of having two members living in California and three in London, this incarnation of the band split up.

The former British musicians were replaced by musicians from the LA-area: Michael Stull (guitar/piano), Alex Richman (keyboards), Karl Rucker (bass), Bobbi Hall (congas) and an additional drummer, Mike Berkowitz. This line-up released Hear and Now in 1975.

The Butts Band then split completely after the second album, Krieger and Densmore going off to do solo projects. In 1978, the three remaining Doors reunited for the first time working on An American Prayer. 

Butts Band is the first album by Butts Band, released in 1974. “Pop-a-Top” was released as a single, with “Baja Bus” on the B side. Band founders Robby Krieger and John Densmore would assemble an entirely new group of musicians for the band’s second and final album, 1975’s Hear and Now. ((wikipedia)

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The 1973 debut of Butts Band, produced by Doors engineer turned producer Bruce Botnick, is — along with Ray Manzarek’s 1974 release, The Golden Scarab (also produced by Botnick) — the true fulfillment of what Other Voices and Full Circle initiated. A release of Golden Scarab and The Butts Band on one CD would be a good companion piece to the aforementioned post-Morrison Doors releases; it’s most likely what would have evolved had the Doors’ trio given us a third album in the early ’70s. Make no mistake, this is very musical and great stuff, it just had no image, introduced us to new personalities, and was saddled with a terrible name (c’mon, the Butts Band? What was Jimmy Castor’s line in “Troglodyte”? “Bertha Butt, one of the Butt sisters.”

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It’s just plain silly with the world watching the Doors’ legacy). Before Robbie Krieger went on his jazz tangent, this folky blues group may have been a necessary diversion. There’s none of the Doors’ darkness or Ray Manzarek’s manic intensity here. It’s laid-back, well-played, perfectly recorded music on the Blue Thumb label. What is surprising is that Robbie Krieger was an integral part of the Doors’ hit singles. He seems to have put that in the past on these compositions. “Baja Bus,” with conga by Larry McDonald, might as well be the Allman Brothers. Side one was recorded in Kingston, Jamaica, with Botnick as engineer, while in London for side two at Olympic Studios they used Keith Harwood on the boards, though Bruce Botnick is the producer of the entire package. More of what you’d expect than the follow-up, Hear and Now, which changes all the musicians save the two Doors and completely reshuffles the sound. Gotta hand it to Krieger and Densmore; they can be as proud of this as Ten Wheel Drive’s Zager and Schefrin can be of their post-Genya Ravan disc on EMI. That record wasn’t Ten Wheel Drive with Genya Ravan, but it was competent and worth a listen, as is The Butts Band. (by Joe Viglione)

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Personnel:
Phillip Chen (bass, guitar on 04.)
Roy Davies (keyboards, syntghesizer)
John Densmore (drums)
Robbie Krieger (guitar)
Jess Roden (vocals, guitar)
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Larry McDonald (percussion on 02., 04.)
Allen Sharp (percussion on 07.)
Mick Weaver (piano on 06., 08., organ on 07.)
InletsTracklist:
01. I Won’t Be Alone Anymore (Krieger) 4.29
02. Baja Bus (Krieger) 4.41
03. Sweet Danger (Roden) 4.54
04. Pop-A-Top (Roden/Chen) 3.21
05. Be With Me (Krieger) 4.19
06. New Ways (Roden) 3.55
07. Love Your Brother (Krieger) 4.50
08. Kansas City (live) (Leiber/Stoller) 4.05

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Various Artists – Mindrocker – An Anthology Of US-Punk From The Sixties (Volume 2) (1981)

FrontCover1Some facts about the legendary Label Line Records from Germany:

Back in 1979.
Several major labels had just squeezed out the Punk movement and its followers such as New Wave, when a new small independent record company based in Hamburg made a bold step back into the future: LINE RECORDS.
Virtually nobody still cared about the music of the glorious 60s and 70s then – except Uwe Tessnow, a former A&R rep of Kinney Music and Teldec Records.
Surprise releases by almost forgotten rock stars such as Mitch Ryder and Roger Chapman made their way into the shops and were sold by the vanload immediately.
The news was spread almost overnight, and many musicians got in touch with LINE to find a new platform for their products nobody else was interested in.

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A highly attractive artist roster took shape almost by itself, the term “re-release” was (re)born and has become a substantial part of the international recording industry since.
Highly acclaimed (but almost forgotten) artists from America and Great Britain were back in the biz, critics’ darlings got their second chance, lost vinyl rarities were available once again, unknown bands and soloists made their marks on LINE.
Uwe Tessnow signed contracts, acquired rights, the so-called “small label with the scale-paper” had fulfilled groundbreaking, pioneering work – fans and collectors cheered alike.

LINE also set a new standard in extracting valuable material from foreign label catalogues:
LINE got the meat out of cult labels such as BOMP and Star-Club, and took over product from newly established indies from the likes of Stiff, Albion, Beserkley among others for the German market.
There seemed to be a niche for everything: Rock and Rock’n’Roll; R&B and Soul; Blues and Pubrock; 60s Garage Rock, Punk and New Wave. Promoting sound from the past and present, LINE had finally arrived.

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Furtheron the label set even more new standards – sometimes with a twinkle in the eye: Uwe Tessnow offered coloured vinyl, double LPs with only three sides housed in normal one-album sleeves, 10-inch promo items, special cassette editions – LINE paved the way once more, got imitated but was hardly conquered.

In the mid-80s, comprehensive parts of the label’s catalogue were transferred onto the new compact disc format.
It was the starting shot for special compilation series as well, making LINE a forerunner once again: Rock File, Pop File, and the Backline series – presenting the US pop history from the 40s to the mid-50s – have become legendary projects since, got copied by many competitors but are still a distinctive part of the label’s catalogue.

Many fantastic records:
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These days Uwe Tessnow is marketing classical music (core theme: rare opera recordings) – with his pop job expertly done and left behind.
Without his bold reanimation strategy at times when nobody cared, the international rock scene would have been much poorer.

Rock and pop re-issues these days are still a significant part of the record business.
The crucial pattern has got a name: LINE. (press release)

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This series by the German Line Records (compiled & conceived by Hans-Hermann Pohle) label started in 1981 and run till 1986, incl. 13 Volumes. All have liner notes that commenting every single band and single that was choosen for he compilation. The latest volumes, 12 and 13 appeared on Impact. (disc.com)

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Fourteen garage-psych numbers from mid-’60s Chicago, originally issued on the Dunwich and USA labels. Much of this has since appeared on domestic reissues that are easier to locate, but there’s no denying that this features some of the best raunchy Chicago rock of the period. The Del-Vetts’ “Last Time Around” has great crunchy riffs, effective tempo changes, and airy pop hooks; the same goes for Pride & Joy’s “If You’re Ready,” not all that surprising since it’s the Del-Vetts after a name change. The Knaves’ “The Girl I Threw Away” is sloppy but attractive folk-rock-punk; the Banshees’ “Project Blue” is Chicago garage at its most demented. Nothing else here is in this league, and the Shadows of Knight (with “Someone Like Me”) are the only well-known group, but it’s a solid encapsulation of the rawer side of mid-’60s Chicago rock. (by Richie Unterberger)

I love all these tracks from the beginning of Rock music, played by mostly young angry men.

And : “Deck Five” from The Saturday’s Children ist a clever beat-version of Brubeck´s “Take Five” !

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Tracklist:
01. The Del-Vetts: Last Time Around (Dahlquist) 2.36
02. Banshees: Project Blue (Rouse) 2.30
03. Saturday’s Children: Deck Five (Bryan/Holder) 2.13
04. The Knaves: The Girl I Threw Away (Berkman/Hulbert) 2.33
05. Pride & Joy: If You’re Ready (Dahlquist) 2.18
06. Sounds Unlimited: A Girl As Sweet As You (Lester) 2.19
07. The Shadows Of Knight: Someone Like Me (McDowell/Novak) 2.18
08. Oscar & The Majestics: I Can’t Explain (Townshend) 2.12
09. The Lost Agency: One Girl Man (Thome) 3.00
10. Shady Daze: I’ll Make You Pay (Jordan/Rupp/Driz) 1.53
11. The Family: San Francisco Waits (Whiteside) 2.49
12. Cherry Slush: I Cannot Stop You (Wagner) 2.35
13. The Trolls: Don’t Come Around (Apples/Gallagher) 2.16
14. The Factory: High Blood Pressure (Smith/Vincent) 2.28

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Harry Belafonte – Belafonte Sings The Blues (1958)

FrontCover1Harry Belafonte (born Harold George Bellanfanti Jr.; March 1, 1927) is a Jamaican-American singer, songwriter, activist, and actor. One of the most successful Jamaican-American pop stars in history, he was dubbed the “King of Calypso” for popularizing the Trinidadian Caribbean musical style with an international audience in the 1950s. His breakthrough album Calypso (1956) was the first million-selling LP by a single artist. Belafonte is known for his recording of “The Banana Boat Song”, with its signature lyric “Day-O”. He has recorded and performed in many genres, including blues, folk, gospel, show tunes, and American standards. He has also starred in several films, including Otto Preminger’s hit musical Carmen Jones (1954), Island in the Sun (1957), and Robert Wise’s Odds Against Tomorrow (1959).

Belafonte was an early supporter of the Civil Rights Movement in the 1950s and 1960s and was a confidant of Martin Luther King Jr.. Throughout his career, he has been an advocate for political and humanitarian causes, such as the Anti-Apartheid Movement and USA for Africa. Since 1987, he has been a UNICEF Goodwill Ambassador. He was a vocal critic of the policies of the George W. Bush presidential administrations. Belafonte acts as the American Civil Liberties Union celebrity ambassador for juvenile justice issues.

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Belafonte has won three Grammy Awards (including a Grammy Lifetime Achievement Award), an Emmy Award, and a Tony Award. In 1989, he received the Kennedy Center Honors. He was awarded the National Medal of Arts in 1994. In 2014, he received the Jean Hersholt Humanitarian Award at the Academy’s 6th Annual Governors Awards.

Belafonte Sings the Blues is an album by Harry Belafonte, released by RCA Victor (LPM/LSP-1972) in 1958. It was recorded in New York City on January 29 (with Alan Greene as conductor) and March 29 (with Bob Corman as conductor), and in Hollywood on June 5 and 7 (conducted by Dennis Farnon). The album was Belafonte’s first to be recorded in stereophonic sound. (wikipedia)

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This compelling set of vocal blues tunes by Harry Belafonte came as a pleasant surprise in his career. Never before had he sung on records as he did for this 1958 album. There is still much of the performer and the folk singer in his basic presentation here, but there is also rawness and fervor for the blues feeling.

Backed appropriately by superior groups, featuring outstanding jazz soloists Belafonte always dug jazzhe manages to come through as a fine, warm, moving blues singer of emotional smoothness and control. Included for comparison are six rare tracks that launched his brief career as a jazz-oriented singer in 1949, and an original Belafonte blues in two parts: The Blues is Man, recorded in 1955. (Press release)

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After flirting with traditional African-American material in his previous albums, Belafonte, for the first time, devotes an entire album to the blues. However, of the eleven songs, only two could be classified as traditional blues: “In the Evenin’ Mama” and “Cotton Fields,” the latter given a five minute treatment. Belafonte would take this song on the road as part of his live act for the next decade. Of the other songs, three were covers of Ray Charles standards (“A Fool For You,” “Hallelujah I Love Her So,” “Mary Ann”). Another highlight is Belafonte’s rendition of Billie Holiday’s “God Bless the Child.” […] Still, it’s solid listening, and taken track by track, thoughtful performances. Footnote: this was the first Belafonte album recorded in Stereo. (Cary Ginell)

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Personnel:
Milt Bernhart (trombone)
Red Callender (bass 01., 05., 09.)
Don Fagerquist (trumpet)
Howard Roberts (guitar)
Jimmy Rowles (piano)
Jack Sperling (drums)
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Laurindo Almeida (guitar on 01., 05., 09.)
Danny Barrajanos (percussion on 06. + 11.).
Roy Eldridge (saxophone on 06. + 11.)
Charles C. Greene (piano on 04.)
George Guadango (drums on 04.)
Fred Hellerman (guitar on 06. + 11.)
Osie Johnson (drums on 06. + 11.)
Plas Johnson (saxophone on 02., 03., 07., 08. + 10.)
Hank Jones (piano on 06. + 11.)
Norman Keenan (bass on 04., 06. + 11.)
Bump Myers (saxophone on 01., 05., 09.)
Millard Thomas (guitar on 04.)
Ben Webster (saxophone on 06. + 11.)

Arranged & conducted by
Dennis Farnon
by Alan Green (on 04.)
Bob Corman (on 06. + 11.)

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Tracklist:
01. A Fool For You (Charles) 3.37
02. Losing Hand (Calhoun) 4.16
03. One For My Baby (Mercer/Arlen) 4.31
04. In The Evenin’ Mama (Carter) 3.27
05. Hallelujah I Love Her So (Charles) 2.52
06. The Way That I Feel (Brooks) 4.30
07. Cotton Fields (Carter) 5.16
08. God Bless The Child (Holiday/Herzog Jr.) 5.02
09. Mary Ann (Charles) 2.37
10. Sinner’s Prayer (Fulson) 3.40
11. Fare Thee Well (Brooks) 4.39

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Scott McKenzie – The Voice Of Scott McKenzie (1967)

FrontCover1Scott McKenzie (born Philip Wallach Blondheim III; January 10, 1939 – August 18, 2012) was an American singer and songwriter. He was best known for his 1967 hit single and generational anthem, “San Francisco (Be Sure to Wear Flowers in Your Hair)”.

Philip Wallach Blondheim III was born in Jacksonville, Florida, on January 10, 1939, as the son of Philip Wallach Blondheim, Jr. and the former Dorothy Winifred Hudson. His family moved to Asheville, North Carolina, when he was six months old. He grew up in North Carolina and Alexandria, Virginia, where he became friends with John Phillips, the son of one of his mother’s friends. In the mid-1950s, he sang briefly with Tim Rose in a high school group called The Singing Strings. He graduated high school from St Stephens School for Boys in Alexandria, VA.
Career

Later, with Phillips, Mike Boran, and Bill Cleary, he formed a doo wop band, The Abstracts.

In New York, The Abstracts became The Smoothies and recorded two singles with Decca Records, produced by Milt Gabler. During his time with The Smoothies, Blondheim decided to change his name for business reasons:

“[We] were working at one of the last great night clubs, The Elmwood Casino in Windsor, Ontario. We were part of a variety show … three acts, dancing girls, and the entire cast took part in elaborate, choreographed stage productions … As you might imagine, after-show parties were common.

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“At one of these parties I complained that nobody could understand my real name … [and] pointed out that this was a definite liability in a profession that benefited from instant name recognition. Everyone started trying to come up with a new name for me. It was [comedian] Jackie Curtis who said he thought I looked like a Scottie dog. Phillips came up with Laura’s middle name after Jackie’s suggestion. I didn’t like being called ‘Scottie’ so everybody agreed my new name could be ‘Scott McKenzie.'”

In 1961, Phillips and McKenzie met Dick Weissman and formed the folk group, The Journeymen, at the height of the folk music craze. They recorded three albums and seven singles for Capitol Records. After The Beatles became popular in 1964, The Journeymen disbanded.[6] McKenzie and Weissman became solo performers, while Phillips formed the group The Mamas & the Papas with Denny Doherty, Cass Elliot, and Michelle Phillips and moved to California.

ScottMcKenzie02McKenzie originally declined an opportunity to join the group, saying in a 1977 interview, “I was trying to see if I could do something by myself. And I didn’t think I could take that much pressure.” Two years later, he left New York and signed with Lou Adler’s Ode Records.
“San Francisco (Be Sure to Wear Some Flowers In Your Hair)”

Phillips wrote and co-produced “San Francisco (Be Sure to Wear Flowers in Your Hair)” for McKenzie. John Phillips played guitar on the recording and session musician Gary L Coleman played orchestra bells and chimes. The bass line of the song was supplied by session musician Joe Osborn. Hal Blaine played drums.

It was released on 13 May 1967 in the United States and was an instant hit, reaching number 4 on the Billboard Hot 100 and number 2 in the Canadian RPM Magazine charts. It was also a number 1 in the UK and several other countries, selling over seven million copies globally.

McKenzie followed the song with “Like an Old Time Movie”, which Phillips also wrote, composed, and produced, but which was a minor hit (number 27 in Canada). His first album, The Voice of Scott McKenzie, was followed with an album called Stained Glass Morning. He stopped recording in the early 1970s and lived in Joshua Tree, California, and Virginia Beach, Virginia.

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In his own right, McKenzie likewise wrote and composed the song “What About Me” that launched the career of Canadian singer Anne Murray in 1968. (Murray’s United States breakthrough, with Gene McLellan’s “Snowbird”, would not follow for several years.)

In 1986, he started singing with a new version of The Mamas and the Papas. With Terry Melcher, Mike Love, and John Phillips, he co-wrote “Kokomo” (1988), a number 1 single for The Beach Boys.

By 1998, he had retired from the road version of The Mamas and the Papas, and resided in Los Angeles, California, until his death. He appeared at the Los Angeles tribute concert for John Phillips in 2001, amongst other 1960s contemporary acts.

McKenzie died on August 18, 2012, at the age of 73, in Los Angeles. He had suffered from Guillain–Barré syndrome from 2010 until his death. (wikipedia)

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There was more to Scott McKenzie than “San Francisco,” though this album came out so long after that single peaked on the charts that few people ever bothered to buy it. There’s nothing here quite like the title song, and none of the rest captures a magical mood or moment the way that the single did, though there is some very pretty music. McKenzie’s rendition of Donovan’s “Celeste” has a languid beauty, while his version of John Sebastian and Zal Yanovsky’s “It’s Not Time Now” is a more standard, rhythmic folk-rock piece. For reasons perhaps best known to himself, however, McKenzie’s voice doesn’t have as much range or flexibility on those two numbers as it seemed to show on “San Francisco.” But when he does one of his originals, his expressiveness blooms, and he stays fairly strong on all of the rest.

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That includes Tim Hardin’s “Reason to Believe” (one of the better renditions that song has ever received) and “No, No, No, No, No,” a hook-laden piece about sexual pursuit and frustration with an exquisite orchestral accompaniment behind a lean, punchy acoustic band sound; and Hardin’s haunting, cautionary “Don’t Make Promises.” Still, the songs that McKenzie does best here are the John Phillips-authored works — beyond the title cut, those include “Like an Old Time Movie” and “Twelve-Thirty.” The latter has a poignancy here that the more familiar version by the Mamas & the Papas misses; one gets the illusion of a personal confessional, so closely does McKenzie seem to embrace the lyric. Some of his singing is still a bit too bland, but overall this would have been a promising first effort, had McKenzie been of more of a mind to follow it up quickly. (by Bruce Eder)

And yes … his “San Francisco” was one of my favourite songs in theSixties … OriginalBC1

Personnel:
Hal Blaine (drums)
Gary L Coleman (orchestra bells, chimes)
Scott McKenzie (vocals)
Joe Osborn (bass)
John Phillips (guitar)

Alternate frontcovers:
AlternateFrontCovers

Tracklist:
01. San Francisco (Be Sure To Wear Flowers In Your Hair) (Phillips) 3.00
02. Celeste (Leitch) 3.32
03. It’s Not Time Now (Sebastian/Yanovsky) 2.48
04. Whats The Difference (Chapter II) (McKenzie) 2.43
05. Reason To Believe (Hardin) 2.22
06. Like An Old Time Movie (Phillips) 3.15
07. No, No, No, No, No (Stephens/Polnareff) 2.51
08. Don’t Make Promises (Hardin) 3.54
09. Twelve-Thirty (Phillips) 3.16
10. Rooms (Phillips) 3.27
11. What’s The Difference (Chapter I) (McKenzie)
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12. What’s The Difference (Single mix) (McKenzie) 2.18
13. San Francisco (Be Sure To Wear Some Flowers In Your Hair) (Mono version) (Phillips) 2.56
14. Like An Old Time Movie (Mono single mix) (Phillips) 3.16
15. What’s The Difference (Chapter II) (Mono single version) (McKenzie) 2.17
16 Celeste (Mono single version) (Leitch) 3.31
17 No, No, No, No, No (Mono single version) (Stephens/Polnareff) 2.52
18. Holy Man (McKenzie/Phillips) 2.47
19. What’s The Difference (Chapter III) 3.36
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ScottMcKenzie04Scott McKenzie (January 10, 1939 – August 18, 2012)

If you’re going to San Francisco
Be sure to wear some flowers in your hair
If you’re going to San Francisco
You’re gonna meet some gentle people there

For those who come to San Francisco
Summertime will be a love-in there
In the streets of San Francisco
Gentle people with flowers in their hair

All across the nation, such a strange vibration
People in motion
There’s a whole generation with a new explanation
People in motion, people in motion

For those who come to San Francisco
Be sure to wear some flowers in their hair
If you come to San Francisco
Summertime will be a love-in there

If you come to San Francisco
Summertime will be a loving day

Naomi Shelton & The Gospel Queens – What Have You Done, My Brother (2009)

FrontCover1Sanctified soul sister Naomi Shelton rose to prominence in her late sixties as a member of Daptone records’ retro-rooted soul/funk stable, along with her backing group the Gospel Queens, but her pedigree as a performer of both sacred and secular music stretches back much farther than that. Born Naomi Davis Shelton, in Midway, Alabama, she began singing in her Baptist church at an early age. After graduating high school in 1958, she moved first to New York, then spent time in Florida, where the greats of the burgeoning soul movement — including Wilson Pickett, Otis Redding, and Lou Rawls — inspired her to try her hand at singing secular R&B; she soon became a regular winner at a local talent show. In 1963 she settled back in New York and landed a regular gig playing three sets a night at Brooklyn’s Night Cap. There she met pianist Cliff Driver, who would become her musical mentor and co-conspirator, on and off, and eventually, some three decades later, the musical director of the Gospel Queens. That group came together in the late ’90s, by which point Driver had been off the scene for nearly 20 years, although Shelton never stopped singing, in both clubs (as Naomi Davis) and churches. In 1999, Driver got back in touch and invited her to become the new lead singer in a vocal group he’d been working with, and they began performing around New York, soon catching the attention of Gabriel Roth, then the head of Desco Records. Roth invited the pair to a recording session with the Desco house band, which yielded the “41st Street Breakdown” 45 (credited to Naomi Davis & the Knights of Forty First Street) and a couple of sought-after unreleased tracks. When Desco folded and Daptone arose in its wake, Davis remained in the fold, appearing live as part of the “Daptone Super-Soul Revue” contributing her vocals to a song by the Sugarman Three that was issued as a single, but it took nearly a decade for before Naomi & Gospel Queens got around to making a recording of their own.

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2009 saw the release of What Have You Done, My Brother?, a full-length arranged by Driver, featuring members of the Dap-Tones, and split between versions of gospel classics and soulful originals penned by Roth under his Bosco Mann alias. Shelton & the Gospel Queens toured extensively in support of the album, including appearances at the The Monterey Jazz Festival, Bonnaroo, and Montreal Pop. In 2014, Davis, Driver, and Bosco Mann returned to Daptone, laying down a dozen new songs live in the studio. The results were released in July 2014 as Cold World.

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Daptone Records, arguably the epicenter of the 2000s funk/soul resurgence, has launched records by retro-styled revivalists (the Budos Band, the Mighty Imperials), reissues of vintage-era obscurities (Bob & Gene), and even reissues of revivalists (the Daktaris, the Poets of Rhythm), but for a long time the label lacked another act that could compare with its flagship star, Sharon Jones, a bona-fide throwback soul artist with roots in the music’s heyday who’s still very much musically active today. Enter Naomi Shelton, a commanding and full-throated vocalist whose musical identity stems equally from her churchgoing rural Alabama childhood in the ’40s and ’50s and her tenure on the New York club scene in the ’60s and beyond. Like Jones, hers is an undeniable, inimitable voice, a rich and gritty alto brimming with authority and hard-earned authenticity, but also an unmistakable sense of compassion, grounded by a forthright, soberly pragmatic sensibility. What Have You Done, My Brother?, the first full-length Shelton has cut in her long and varied career, is a gospel record, to be sure — from the reedy organ notes that open the proceedings to the inspiring lyrical message of uplift and righteous struggle, bolstered by the sturdy and stirring backing harmonies of the Gospel Queens — but it’s a soul record, too, just as obviously, and one that bears many of the hallmarks of Jones’ Daptone sides.

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Along with a number of traditional and classic gospel numbers, most familiarly Sam Cooke’s timeless “A Change Is Gonna Come” (which sounds as affecting as ever, and more personally informed than usual, in Shelton’s relatively unadorned take), she’s blessed here with a handful of top-notch original tunes by Daptone ringleader Bosco Mann (aka Gabriel Roth) which, true to form, are practically impossible to distinguish from the older songs — although the socially conscious, mock-deferential “Am I Asking Too Much?,” which is rather atypically sardonic, does feel particularly like one of Jones’ groovy struts. Roth also serves as producer and plays bass, alongside fellow Dap-Kings Tommy Brenneck and Homer Steinweiss, while Jones herself is one of several supplemental background vocalists, in addition to the Queens (two of whom take turns on lead vocals.) Suffice it to say, fans of Jones and/or the label won’t be too surprised, and certainly shouldn’t be disappointed, by what they hear here, even those who wouldn’t typically be inclined to listen to a gospel record. And, thanks perhaps to the understated influence of the band’s arranger and musical director Cliff Driver, or to Shelton’s unaffected sincerity, or simply to the directness, optimism, and relevance of the music’s spiritual message, this set is blissfully free of the occasionally over-earnest schtickiness that can sometimes creep into Daptone’s more retro-minded output: this is real, and this is righteous. ((by K. Ross Hoffman)

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Personnel:
Tommy Brenneck (guitar)
Cliff Driver (piano)
Brian Floody (drums)
Jimmy Hill (organ)
Bosco Mann (bass)
Naomi Shelton (vocals)
Homer Steinweiss (drums)
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The Gospel Queens:
Edna Johnson – Bobbie Gant – Cynthia Langston
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background vocals:
Jamie Kozyra – Sharon Jones – Judy Bennett – Tamika Jones

Bosco MannTracklist:
01.What Is This (Morganfield) 3.13
02. What More Can I Do? (Barnes) 4.23
03. I’ll Take The Long Road (Mann) 2.56
04. What Have You Done (Mann) 3.46
05. I Need You To Hold My Hand (Williams) 3.21
06. Trouble In My Way (Jeter) 2.55
07. Jordan River (Traditional) 2.31
08. He Knows My Heart (Traditional) 2.38
09. Am I Asking Too Much? (Mann) 4.02
10. By Your Side (Mann) 2.53
11. Lift My Burdens (Mann) 3.05
12. A Change Is Gonna Come (Cooke) 3.49

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Lonnie Smith – Foxy Lady – Tribute to Jimi Hendrix (1994)

FrontCover1Lonnie Smith (born July 3, 1942), styled Dr. Lonnie Smith, is an American jazz Hammond B3 organist who was a member of the George Benson quartet in the 1960s. He recorded albums with saxophonist Lou Donaldson for Blue Note before being signed as a solo act. He owns the label Pilgrimage.

He was born in Lackawanna, New York, into a family with a vocal group and radio program. Smith says that his mother was a major influence on him musically, as she introduced him to gospel, classical, and jazz music.
Career

He was part of several vocal ensembles in the 1950s, including the Teen Kings which included Grover Washington Jr., on sax and his brother Daryl on drums. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3.

Smith’s affinity for R&B melded with his own personal style as he became active in the local music scene. He moved to New York City, where he met George Benson, the guitarist for Jack McDuff’s band. Benson and Smith connected on a personal level, and the two formed the George Benson Quartet, featuring Lonnie Smith, in 1966.

After two albums under Benson’s leadership, It’s Uptown and Cookbook, Smith recorded his first solo album (Finger Lickin’ Good Soul Organ) in 1967, with George Benson and Melvin Sparks on guitar, Ronnie Cuber on baritone sax, and Marion Booker on drums. This combination remained stable for the next five years.

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After recording several albums with Benson, Smith became a solo recording artist and has since recorded over 30 albums under his own name. Numerous prominent jazz artists have joined Smith on his albums and in his live performances, including Lee Morgan, David “Fathead” Newman, King Curtis, Terry Bradds, Blue Mitchell, Joey DeFrancesco and Joe Lovano.

In 1967, Smith met Lou Donaldson, who put him in contact with Blue Note Records. Donaldson asked the quartet to record an album for Blue Note, Alligator Bogaloo. Blue Note signed Smith for the next four albums, all in the soul jazz style, including Think! (with Lee Morgan, David Newman, Melvin Sparks and Marion Booker) and Turning Point (with Lee Morgan, Bennie Maupin, Melvin Sparks and Idris Muhammad).

Smith’s next album Move Your Hand was recorded at the Club Harlem in Atlantic City, New Jersey, in August 1969. The album’s reception allowed his reputation to grow beyond the Northeast. He recorded another studio album, Drives, and another live album (unreleased at the time), Live at Club Mozambique (recorded in Detroit on May 21, 1970), before leaving Blue Note.

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He recorded one album in 1971 for Creed Taylor’s CTI label, which had already signed George Benson. after a break from recording, he then spent most of the mid-1970s with producer Sonny Lester and his Groove Merchant and then LRC labels. It resulted in four albums, with the music output veering between jazz, soul, funk, fusion and even the odd disco-styled track.

Smith became a part of the Blue Note family once again in March 2015. He released his first Blue Note album in 45 years titled Evolution which was released January 29, 2016 featuring special guests: Robert Glasper and Joe Lovano. His second Blue Note album All in My Mind was recorded live at “The Jazz Standard” in NYC (celebrating his 75th birthday with his longtime musical associates: guitarist Jonathan Kreisberg and drummer Johnathan Blake), and released January 12, 2018.

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Smith toured the northeastern United States heavily during the 1970s. He concentrated largely on smaller neighborhood venues during this period. His sidemen included Donald Hahn on trumpet, Ronnie Cuber, Dave Hubbard, Bill Easley and George Adams on saxes, George Benson, Perry Hughes, Marc Silver, Billy Rogers, and Larry McGee on guitars, and Joe Dukes, Sylvester Goshay, Phillip Terrell, Marion Booker, Jimmy Lovelace, Charles Crosby, Art Gore, Norman Connors and Bobby Durham on drums.

Smith has performed at several prominent jazz festivals with artists including Grover Washington Jr., Ron Carter, Dizzy Gillespie, Lou Donaldson, Ron Holloway, and Santana. He has also played with musicians outside of jazz, such as Dionne Warwick, Gladys Knight, Etta James, and Esther Phillips. (wikipedia)

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And here´s is second Jimi Hendrix tribute album:

Purists of various genres might scoff at this being a Hendrix tribute. The way I see it? Here’s a trio of Dr. Lonnie Smith, John Abercrombie and Smitty Smith blasting through some Hendrix favorites with a lot of gusto, and acres of room to stretch out for some prime jazz riffing, especially from Abercrombie, who takes on an atmospheric role behind Dr. Smith yet can stretch on his own when he takes the spotlight. This is jazz which is *fun* to listen to, yet it rocks out (especially the disc opener) in a way that even rock or fusion fans will dig it. Take off the attitude and the stuffy mindset and simply enjoy this one. Also grab the companion set, Purple Haze: Tribute to Jimi Hendrix , which was recorded at the same time. (by Rudy)

This is a fine companion to the first Cd by these guys ‘Purple Haze’ .. These guys are masters of their respective instruments ,all are legends in their own right .. their interpretations on both discs of Jimi’s stuff is a very nice listen ..John does not play like Jimi ,John is John , and what a fine guitarist he is..His ECM work is wonderful , especially when teamed with Charles Lloyd . I like the track ‘Jimi Meets Miles’ on this disc .. makes you wonder ..boy , if only they could have got together in the studio! Great Jazz Power Trio here!! (by David Booker)

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Personnel:
John Abercrombie (guitar)
Lonnie Smith (organ)
Marvin “Smitty” Smith (drums)
Booklet

Tracklist:
01. Foxy Lady (Hendrix) 10.02
02. Castles Made Of Sand (Hendrix) / Star Spangled Banner (Traditional/Smith) 23.38
03. Third Stone From The Sun (Hendrix) 13.09
04. Jimi Meets Miles (Smith) 9.39

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