Paul Chambers - Bass On Top
4 minutes ago
Although there's some nice, powerful drumming on here, the overall feel of this album may seem a bit top-heavy and monochromatic... It's that "...his percussion, brass, woodwinds, and choir" subheader on the album jacket that'll tip you off. Olatunji and his Nigerian percussion ensemble plays host to a cast of thousands that includes jazzmen such as Ray Barretto, Yusef Lateef and Clark Terry -- great players all, though their contributions are largely buried in the mix. Not a bad album, by any means, though is doesn't quite match the intensity of the earlier Drums Of Passion album. Worth checking out, though... it's very mellow, meditative, easy on the ears and entrancing.
One of Olatunji's best LPs, and a record that breaks out of his usual straight hard percussion stuff by adding some jazz players like Yusef Lateef, Clark Terry, and George Duvivier. There's also some singers augmenting the ensemble, but they drop out in parts, and the percussion and jazz take over. Olatunji's joined by Ray Barretto and Montego Joe on congas, and the whole thing grooves like one of Art Blakey's jazz/percussion experiments. 7 tracks: "Masque Dance", "Zungo", "Ajua", "Esum Buku Wa-Ya", "Gelewenwe", "Jolly Mensah" and "Philistine".
Impossible rare and obscure UK white and black group from the late 60s. Play two killer tracks in Funky Soul Mod dancer way, listen to "She wrote me a letter" and also to "Shockproof ". Inclu other cool ska and reggae numbers.There you have it, the sum total of information available for the inaugural album of short-lived Crystal records. Details are so scant on this release that after two weeks of trawling through hundreds of pages of search results trying to source the players based on their first name, it was obviously a lost cause. Even the tried-and-true methods of investigating the label's house band/preferred session men or touring outfits of the vocalists led to nameless dead ends since the rest of the label's output featured low-rent pop-oriented crooners who were probably uninterested in sharing the spotlight.
DOMINANT MUSIC [signed a] sub-publishing deal with SPARTA/FLORIDA for several copyrights, including the Rock Steady hit SWAN LAKE by THE CATS (a big hit on the continent and made the national charts in the UK).
[Price] became Label Manager and P.A. to EMILE SHALLET, the Managing Director of MELODISC RECORDS, London (Bluebeat and FAB label) thus gaining considerable experience in the Rock Steady and Reggae scene from the very company that initiated the Reggae industry in Europe... This company had massive national chart successes and large record sales with PRINCE BUSTER on the BB label.
[Price] produced albums for PHILIPS, MERCURY, FONTANA REDIFFUSION, PYE RECORDS, PRESIDENT RECORDS (JAYBOY LABEL), FLAMINGO MUSIC, SAGA RECORDS, as well as for his own labels, SIOUX RECORDS and CRYSTAL RECORDS. These included rock and roll, folk R&B and Reggae music... Also at this time issued a Reggae album on the CRYSTAL LABEL for NOEL GAY MUSIC PUBLISHERS...As good as Price might be at accepting the credit he deserves, either he or NGP weren't nearly so generous at giving it on the Pavement liner notes. Hype, on the other hand, there's plenty of. One would expect nothing less since it was the go juice of the a-go-go era and this was the first release on a new label being propelled by a high-powered entertainment corporation currently firing on all cylinders, after all. But would dropping a few family names into the mix be that hard? Who were these guys? Oh wait, maybe that's why this record plummeted into the deepest recesses of obscurity.
By introducing the Reggae scene to Philips, Pye and Decca Records, he has been accredited to be the first person to make the music available nationwide to all record outlets instead of the limited distribution network which existed at the time
During the 1960s Noel Gay Artists was a principal agent for a huge number of musical and pop acts including Russ Conway , Peter & Gordon , The Scaffold, Geoff Love, Manuel and His Music of the Mountains , Paul Jones etc. As a music publisher, Noel Gay provided a string of hits for Bernard Cribbins including Hole In the Ground, Right Said Fred and Gossip Calypso . The company also represented the young David Frost (who has remained with the agency ever since) and John Cleese.While there's ample info circulating on Crystal and Noel Gay, Hubert Pattison is a horse of a different colour altogether. As a songwriter, he may not have burned up the charts but he didn't do so poorly either. Setting aside a few sporadic and indistinct singles under his own name, he saw some small scale success throughout the last half of the swingin' 60s penning songs for other performers on labels like Columbia, Deram, Parlophone, Pye and Fontana. Some of (well, actually most of) the artists who recorded his material include Billie Davis & The LeRoys, Simon Scott, The Attack, The Syn (where two future members of Yes first worked together) and Peter Jay & The Jaywalkers.
GENESIS. 41 E. 57th St.: Drawings, paintings, and sculptures by contemporary British artists, including works by Hubert Pattison, whose colored drawing of a red-eyed crying young woman stands out, and John Howard, who paints the élite at their cocktails Through Sept. 11. (Open Saturdays and Monday, July 5.)
The Scepter and Musicor discs were characterized by grand, melodramatic songs and production, and while these are not lost classics, they do boast some good tunes and arrangements. This is recommended above most of Kent's other soul rarities collections for that reason: there's a good deal of variety and range of emotion, not just the standard uptempo happy music so beloved on Northern soul dance floors.IMHO it's a perfect aural picture of the downtown sound on a hot summer night taken through a 60s lens. It would optimally be heard after dusk, coming in through the window from a nearby neighbour's kitchen as the AM waves spread out of their transistor radio, bounce off the linoleum tiles and the ceramic and stainless steel surfaces, then escape to ride the soft breeze wafted up by cooling sidewalks and the sluggish traffic six storeys below.
Roy Head was one of the best blue-eyed soul singers, and Huey P. Meaux one of the best Texas '60s rock producers. But though Meaux does produce this straightforward blue-eyed soul album, somehow it never catches fire. It's not the fault of Head, who sings well, with the tinge of country (particularly on the ballad "I'm Not a Fool Anymore") that sometimes surfaced in other first-rate blue-eyed soul singers like Lonnie Mack. The production is OK too, embellishing the standard guitar/bass/drums with organ, sax, and trumpet, as well as some female backup vocals.
The shortfall lies mainly in the material, which is somewhat by-the-numbers soul, though with some circa 1969-1970 touches of early funk. In fact, "Let a Woman Be a Woman" is a pretty blatant James Brown takeoff, though it sounds as if Head and his band's heart isn't fully in it. On the whole it seems like some essential ingredients were missing, in keeping with an album in which only the first names are given for all of the musicians save Head.
In 1970 he cut his swan song LP for Dunhill, The Same People You Meet Going Up You Meet Coming Down. Produced by Huey P. Meaux, one of the world’s great mysteries is just why this album—replete with great “break beats”—isn’t coveted by the funk/ hip-hop DJ crowd. But don’t ponder, purchase!! It still sells for under ten bucks and is a true cornerstone in any Gulf Coast music collection. For one thing, the backing musicians are completely out of hand: funky drums, out-of-control bass lines, over-the-top fuzz guitars, screeching Ornette-Coleman style saxophone and trumpet and above it all, Roy testifying with every ounce of sweat and soul his body, mind and spirit can muster. Lord, have mercy!!! There’s just no arguing with the best.
The song selection, alas, couldn’t be better. T.K. Hulin’s swamp pop classic “I’m Not A Fool Anymore,” Jimmy Hughes’ “Neighbor, Neighbor,” Jackie Payne’s “Go-Go Train” (masquerading as “Soul Train”) and the BEST version of the Sir Douglas Quintet’s “She’s About A Mover” ever recorded. Yes, perhaps even better than the original, hardly a fair comparison because Roy strips the proceedings down to their rawest funkified core. And speaking of Sir Doug, Head even fronted the Texas Tornadoes for a tour when Freddy Fender couldn’t make the gig, and if he was any more intense back in the ‘60s then he was a few years ago, well, he certainly hasn’t lived up to the title of one of the songs from that aforementioned album, “Don’t Want To Make It Too Funky.” You won’t be able to take your eyes (or ears) off Head when he’s onstage, but just watch out: this man’s antics with a microphone are akin to an electrified boomerang.