Essential: a masterpiece of progressive rock music
A rather forgotten band from USA,this quintet hailed from Fort Wayne at the state of Indiana.ETHOS got lucky to be signed by Capitol Records and soon they moved to New York in order to record their first album.By the end of 1975 the work was almost ready and the eight arrangements of ”Ardour” were all written by the leader of the band,vocalist/mandolin player/guitarist Will Sharpe.
This legendary band dates back to the beginning of the 70’s in the neighborhood Jardines del Bosque de Guadalajara, where some young friends manage to invent their own band, “That day, the room was filled with magic”, a legend called: “La Revolución de Emiliano Zapata”.
Although former New Christy Minstrels singer Barry McGuire scored a fluke novelty hit with the Bob Dylan-styled folk-rock protest anthem "Eve of Destruction" in the summer of 1965, neither he nor producer Lou Adler's startup label Dunhill Records seems to have had a long-term plan for his solo career beyond trying to score another hit single. Naturally, Dunhill quickly issued an Eve of Destruction LP, filling the tracks with McGuire covers of recent folk hits and more originals by P.F. Sloan, who'd penned the hit. Sloan also wrote the follow-up singles "Child of Our Times" and "This Precious Time," neither of which made the Top 40. By the end of the year, Dunhill had another McGuire LP, This Precious Time, again mixing Sloan songs with other people's hits like "Do You Believe in Magic" and "Yesterday." That is the first of two McGuire albums combined on this two-fer CD reissue.
Bruce Cockburn's self-titled debut's blend of diversity, enthusiasm, and innocence never quite resurfaced again in his work, especially in his more clinical, politically inclined tracts of later decades. The opening number, "Going to the Country," still evokes that hippie-esque, back-to-the-earth movement as well as any song ever recorded, complete with a sly wink that keeps it fresh to this day. And since this was 1970, the album also comes equipped with some of those quaint excesses of the period; try the nasal tone poem gracing "The Bicycle Trip." "Musical Friends" remains a lively, happy-go-lucky classic with piano signature lifted from Paul McCartney's playbook; it's difficult to picture the dour Cockburn of more recent years ever having this much fun. In contrast, "Thoughts on a Rainy Afternoon" offers a trance-like, introspective atmosphere reminiscent of British folkie legend Nick Drake.
A pair of funky jazz sets from Bennie Maupin – '77's Slow Traffic To The Right and '78's Moonscapes – together in a single set! Slow Traffic To The Right is Maupin's first LP for Mercury, and a great bit of spiritual funky jazz that recalls a lot of the sound of his work with The Headhunters. The first track, "It Remains to Be Seen", is an excellent groover, with some very dark keyboard work by Patrice Rushen, and the rest of the tracks are pretty great too. Pat Gleeson produced and plays synth on the LP, and the cuts include "Quasar", "You Know the Deal", "Water Torture", and "Lament".
It was a sad day for cool jazz when Lennie Niehaus made film music – not jazz – his primary focus. From a jazz standpoint, the Los Angeles resident had so much going for him. Niehaus had an attractive tone along the lines of Lee Konitz and early Bud Shank, and he was a talented arranger to boot. Produced by Lester Koenig in L.A. in 1956, Lennie Niehaus, Vol. 5: The Sextet is quite representative of Niehaus' Contemporary output of the 1950s. This album finds Niehaus leading a sextet that boasts Bill Perkins on tenor sax and flute, Jimmy Giuffre on baritone sax, Stu Williamson on trumpet and valve trombone, Buddy Clark on upright bass, and Shelly Manne on drums – in other words, the cream of the southern California crop.
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah…It pleases me…." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow.
2006 digitally re-mastered two-fer from the legendary Savoy Brown featuring two of their most popular albums (Street Corner Talking from 1971 and Hellbound Train from '72). The line-up on these albums feature the ever-present Kim Simmonds on guitar with Dave Walker (vocals), Andy Sylvester (bass), Paul Raymond (keyboards) and Dave Bidwell (drums), all of the formerly of Chicken Shack! Standard jewel box in a slipcase with extensive liner notes.
This Soul Jam release presents one of Hooker's most difficult to find albums on CD, the eponymous John Lee Hooker. It was originally released in 1962 by the Fantasy Records' subsidiary Galaxy label. The album includes a selection of hard-to-find recordings taped with his electric guitar during different sessions in the 1950s, all of them produced by Bernard Besman, the man who helped define Hooker's recorded sound, which has often relied upon heavy walking beats, boogies, and an eerie atmosphere. In addition to the original masterpiece, this remastered collector's edition also contains 8 bonus tracks from the same period.