(Colt Records) 10 Titel (39:56) Das neue Album ´Room With View´ von The Red Idle Rejects ist ein ´Familien Ding´, das von Steve Bowling geleitet wird, der sich seinen beiden Töchtern anschließt. Fünf der neuen Songs wurden von Steve Bowling geschrieben, der eine Art Anker für die Band ist. Die Musik umfasst Americana, Country, Folk und Rock.
(1994/Delmark) This set by Chicago pianist Jodie Christian has both strong and weak moments. Easily the low point is the Art Ensemble of Chicago´s Roscoe Mitchell´s playing on oboe during ´Song for Atala´ (way out-of-tune) although his work on soprano (´Coltrane´s View´) and alto (´Mr. Freddie´) is better. Christian has a couple trio numbers (´Yardbird Suite´ and ´Come Rain or Come Shine´) with Francine Griffin´s so-so vocals. Several tunes feature altoist Art Porter, who would make a name for himself as a crossover saxophonist before his untimely death, Porter shows how strong a jazz player he could be. Christian´s versatility is displayed during this wide-ranging set and most of the selections work quite well. (AllMusic)
(2016/Reprise) 16 tracks. Am 15. März 2007 hielt Eric Clapton bei seiner Welttournee in San Diego iPayOne Center (ursprünglich der San Diego Sports Arena und jetzt das Valley View Casino Center). Mit dabei waren Derek Trucks und Doyle Bramhall II an der Gitarre, Chris Stainton und Tim Carmon an den Keyboards, Willie Weeks am Bass, Steve Jordan am Schlagzeug und die Background-Sängerinnen Michelle John und Sharon White zu sein . Außerdem bei 5 Songs: J.J. Cale
(2012/TFA) 27 tracks, (2012/TFA) 27 tracks, Formed in 2009, the Stampletons is a 60´s style Beat band from Belarus. Shortly afterwards they released a first album as a limited local edition. Everything about the band was right - the clothes, the haircuts, the sound, the attidude and as a first appreciation the Russian band the Cavestompers invited them to play a show in Moscow. Not only that but one year later they recorded their 2nd album live at the Doo-Dah King bar, Minsk, which never saw the light of day and soon after this recordings the band fractured. This double vinyl here is an almost definitive over-view of the bands early recordings. Featuring a crystal-clear sound and lyrics about spring, girls, love and without any vulgarity or affectation they have laid down some mighty pure Beat / R&B/British Mod sounds. The first disc features the bands debut album of distinctive 60´s sound in the vein of early The Kings, The Action, Small Faces, The Who and of course the Beatles, with chirpy vocals by Alex Stampleton being reminiscient of Steve Marriot or Ray Davies in their best days. The second disc features the previously unheard songs from their unreleased 2nd album of pure amphetamine fuelled excitement from the first minute to the last. Comes in deluxe gatefold edition w/ extensive sleeve notes, lyrics & photos
(VERBRUGGEN/2004) 17,5cm x 24,5cm, hardback, engl., 144 pages. John Wilkinson was a member of Elvis´ TCB Band and spent years with him on the road. Here are his memories with many b/w photographs. This book isn´t only for Elvis Hardcores. A five tracks CD is also included featuring an introduction from Elvis concerning John Wilkinson. - Written by John Wilkinson’s biggest fan and professional journalist, Peter Verbruggen, is a recollection of memories of John’s years with Elvis. The book has John Wilkinson’s signature all over it, if only for the opening of the book with the lyrics of his signature song, ´´Early Morning Rain”. Although John joined Elvis in 1969, Elvis pops up early in the book, the first meeting of John with Elvis took place when John was only nine or ten years old and Elvis performed in John’s hometown Springfield. From there John’s life as a musician leads us through the late fifties and sixties on a musical trip ending in the seventies with Elvis. The memories on the pages are all positive (sweetened thru the ages), but also realistically and deal with the problems Elvis had and how the people surrounding them coped with it, all in their own way. The image of ´´life on the road with Elvis” we get from the book is the same as we got when John told these stories to us personally. What makes this book extra interesting is the amount of memorabilia. Besides newspaper clippings, song lineups and rehearsal schedules we get great photo’s of Elvis (from the early fifties and of course on stage with John Wilkinson) and we see a lot of candids and publicity shots of John himself painting a good picture of being a musician in the sixties and seventies. Most interesting however is the large number of official documents regarding John’s business relation with Elvis, or should we say Colonel Tom Parkers ´´Elvis Presley Show”. These personal contracts, thank you notes and other official documents have not been published before. It gives a nice insight into the business side of the Elvis Presley road show. You can clearly tell Peter Verbruggen is a professional journalist; the text is written very well and reads pleasantly, presenting the memories of John in a nice way. The chronology jumps a bit through time every now and then, but that is what happens when you start reminiscing good memories, new things come to mind. CD the book comes with a bonus CD containg John´s own single releases and two hidden bonus tracks in which you can hear two live recordings of John performing his signature song ´´Early Morning Rain´´ on stage with Elvis and the TCB band. But on these versions he does not only play the guitar, but also sings them. Conclusion The memories which found their way to the pages of this book paint a realistic picture of life on the road with Elvis. Combined with the original documents and illustrations this book is a good addition to the many biographies of Elvis which tell the story from Elvis’ point of view. This book is clearly made with love, not just for the money because someone knew Elvis. But that was to be expected from the man who stood in the back at all of Elvis live performances.(ElvisNews.com) - Strictly limited souvenir-CD contains: Track 1. Elvis introduces one of his best friends 2. Darling Corey 3. Elvis introduces the band 4. Lost Children 5. The Great Truck Race 6. Elvis introduces John 7. (Let´s have a) Party + bonus tracks Early Mornin´ Rain (Lake Tahoe 1976 en Baltimore 1977) Not to be sold separately.
(Fremeaux) 36 tracks with 24 page booklet (english/french). - There is an American flavour about this issue, and even this column has an arôme américain, but not quite in the way that most europeans think to quintessential American music. We’re talkin’ Cajun here. The most recent arrivals from the West country importers, Discovery records of Pewsey in Wiltshire reveal a number of compact discs labels hitherto unavailable in the UK. An amazingly high proportion of these are transferts from 78rpm catalogues close to the hearts of many readers of this magazine. Long may the policy continue ! Discovery imports include items handled by the French Distribution company Nocturne, not, in view what follows, Nuit et Jour. The current rearguard action being fought on behalf of the French language in the face of American incursions, notably in the commercial sphere, is not simply a matter of xenophobia on the part of a few reactionaries. The French language is under threat. In the past, foreign influences from North Africa, the Arabic ´ bled ´ (village or out of the way place) or ´ toubib ´ (doctor) have influenced the language in much the same way that words from India have come into British English. What is new in the present conflict is that the language invasion which is effectively American is an aspect of cultural cleansing and economic imperialism which seeks to Americanize a nation’s way of life for economic gain. Not that the French themselves are entirely innocent victims. It is ´ young ´ to rebel against the language of parents, it is ´ chic ´, especially in media circles to show awareness of American as the language which of international advertising and media manipulation. It is ´ contemporary ´ to be able to show off in the language which, it says itself, is conquering the world through information and other technologies. Listeners to public service radio in France, let alone the commercials, will know to what riculous lenghts Americaniosms are being taken, where they simply replace French in expressions, often inaccurately. To an even greater extent has this been obvious since the former Minister of Culture, Monsieur Jacques Toubon introduced legislation on this subject. French media people, anarchic by nature, have rebelled against the modest requirements of the Minister by introducing more Americanisms than ever. Radio Bleue, the station for the over fifties, is no less guilty in this than other stable-mates at Radio-France, ´ with it ´ France Inter and the ´ intellectual ´ France Culture. What is also apparent in the present struggle is that the French in Canada, much closer to the American language threat than those of Metropolitan France, do not so readily succumb to this particular form of snobbery and make their objections heard through the CRPLF (Communauté des Radios Publiques de Langue Françaaise). We hope that the Discovery/Nocturne arrangement will give us a chance of hearing some of the Quebec singer-songwriters who are maintaining and enhancing the French language, so far from its roots. Meanwhile, we are confronted with another kind of French, much harder to understand even for the most fluent French speakers thant the language of Québec, Montréal and Gaspésie. We are now talking ‘Cajun’, the word itself a corruption of ´ Canadien ´ [from ´ Acadia ´, the original name for Nova Scotia. – Ed.]. How French-speaking people reached Louisiana from Canada is a blight on British colonial history and how they were received by the French-speaking arostocrats and ‘wannabee atistos’, themselves frequently of mixed blood, is no credit to either. In Louisiana, the unwanted Cajuns were given a ´ homeland ´ (pre-president Mandela South African style) in the swamp lands away from the centres of French culture in the state, such as Nouvelle Orléans (New Orleans). The Cajuns became a rural underclass whose richly-spiced music and song were ignored and certainly not recorded until the late 1920’s. In Cajun music, we find old French dances from Brittany, Vendée, Aquitaine and elsewhere, in the company of R&B, Country Music and occasional backward glances at Africa. A two CD set released in France by Frémeaux & Associés, under the direction of Noël Hervé, opens with what is believed to be the first ´ Cajun ´ recording ever : made in New Orleans on April 27th, 1928. Accordion, guitar and vocal by Mr and Mrs Joseph Falcon, Lafayette ; Let’s go to Lafayette. The music is full of life and the sheer joy of living, coming from
(2004/SUNDAZED) 12 tracks Cotillion (SD 9015) 1970 Long before Alice Cooper bought his first guillotine, David Edward Sutch, aka ´Screaming Lord Sutch, 3rd Earl of Harrow´, was pushing the live rock spectacle envelope. Inspired by his musical hero Screamin´ Jay Hawkins, Sutch employed onstage props like a coffin, from which he would emerge, along with skulls, daggers and the like. Together with his band the Savages, he released several early ´60s horror-themed singles, like ´Jack the Ripper,´ the first five being produced by fellow eccentric Joe Meek. The multi-faceted Sutch was also active in politics, forming the Official Monster Raving Looney Party on whose ticket he ran for over forty parliamentary elections, winning none but often garnering a respectable vote tally. A ´Swinging London´ social gadabout, he was ´the guy who´s all dressed up like a Un-i-yon Jack´ in the Rolling Stone´s ´Get Off My Cloud.´ He also founded pirate radio station Radio Sutch and saw many of Britain´s finest musicians pass through his band´s ranks. By anyone´s definition, Sutch was a genuinely unique character. Sutch landed an album deal with Cotillion Records in 1969 and decamped to Mystic Studios in Hollywood, California in August of that year to commence recording. Enlisting friend and former band mate Jimmy Page as producer and session player, Sutch called in a lot of markers to get players for the album. In addition to Page, Jeff Beck, John Bonham, Nicky Hopkins, Noel Redding, Carlo Little, and Kent Henry all participated in the Mystic sessions, which could be accurately described as ´loose.´ With most of the songs written by Sutch and Page, the whole affair sounds like an after-hours jam, with gritty guitar tones, stripped-down arrangements and a ´one-take-and-out´ mentality. Finishing the sessions in September, the finished album was released in February 1970 as Lord Sutch and Heavy Friends. Reaction to the LP was swift and generally unpleasant. It was called ´absolutely terrible´ in Rolling Stone, stating that it made the musicians involved sound like ´fouled parodies of themselves´ and most other reviews ran along those lines. Some of the players claimed that they thought the sessions were a ´demo project´ and hurriedly disowned the album. Page himself said, ´I just went down to have a laugh, playing some old rock ´n´ roll, a bit of a send-up. The whole joke sort of reversed itself and became ugly.´ Likewise, fans that were lured in by the marquee names quickly discovered that this was NOTHING like Led Zeppelin. As fabulous as Sutch looked on the LP cover, posing with a Union Jack-emblazoned Rolls Royce, he couldn´t have been smiling after seeing the public and critical reaction. Not surprisingly, the negative publicity and word-of-mouth stifled the album´s sales. Historical hindsight allows us to view the album through a different lens. True, the album was raw and Sutch´s harsh vocals were a far cry from the polished tracks flowing from ´underground FM´ stations. But it is precisely this primal approach that has given this LP its lasting appeal. On his own albums of the time, Jeff Beck would have never recorded something so sonically nasty as ´Gutty Guitar.´ And it´s not a stretch to imagine that ´L-O-N-D-O-N´ could have been the flip side of the Sex Pistols ´God Save The Queen.´ In truth, the brutally honest approach of Lord Sutch and Heavy Friends anticipated the punk movement by a full six years. Sutch instinctively discarded the pomp and circumstance that was beginning to weigh down contemporary rock and took it back to the basics. While mainstream audiences and reviewers may not have been ready for it in 1970, time has caught up sufficiently so that today´s listener can fully appreciate this groundbreaking LP. After all, most folks weren´t ready for The Velvet Underground in 1970, either. Sourced from original Cotillion analog tapes, this Sundazed edition of Lord Sutch and Heavy Friends puts you right in the middle of one of rock´s wildest recordings. It´s high time to revel in its abandon.