Soul Rebels is an album by The Wailers, their first album to be released outside of Jamaica. The Wailers approached producer Lee Perry in August 1970 to record an entire album, and the sessions took place at Randy's Studio 17 in Kingston, Jamaica until November. First issued in the UK by Trojan Records
in December 1970, the album has since been re-released several times on
several different labels.This 2004 re-issue contains three bonus tracks: 'No Sympathy (alt.version), 'Jah Is Mighty' and 'Soul Rebel [version 4]'. Perry's production is sparse and haunting,
only featuring guitar, bass, drums, electronic organs, and vocals with
no horns or other embellishments. Working with the newly configured Upsetters band, Marley
and crew delivered a strange and wonderful set of early reggae that at
times plays fast and loose with the already established conventions of
the genre.A classic!
Fantastic Creole Dope Funk with long instrumental section led by singer Gordon
Henderson and some cool
english vocals. 7 tracks including: Ico
Vole; Tout' Jeu Cé Jeu; You Have Lost The Battle; On N'Homm' Tomber;
Vive Les Vacances Aux Antilles; Dem Higher; Instant Funk.
Joe Cocker is an album released by Joe Cocker in 1972. It was issued in
the U.S. on A&M Records. It contains the hit single "High Time We
Went", that was released in the summer of 1971.
Although A&M has so far never made the album available on CD in the
U.S., it licensed the recording to UK-imprint Cube Records, which issued
the album on CD (with a different cover and titled Something to Say) in
Europe; that CD is currently out-of-print.
The last of Cocker's classic early period records, it's an almost surprisingly
strong affair. The amazing thing is that this time
Joe wrote most of the material himself - in collaboration with Stainton
and others, but still, this is a really independent record, and thus an
absolute anomaly in the Cocker canon. Even more amazing, these songs are
mostly good. This is also a good album for those who like their Cocker more
rockin': lots of fast, upbeat, punchy grooves on here, and a solid enough
amount of packed energy.
Greetings from LA is about the night. About when 1960s free love became
1970s pleasure hunt.
All this is done
to a deep, exotic, popping funk, provided by the best in the business:
Chuck Rainey and many other funky associates. These were THE guys to get
if making jazz or funk or both in the 70s.
These songs
are long, girating canvases, played perefectly by these amazing
musicians. This is funk, not disco, but it is amazing how hard the beat
is driven, yet how musically it is played. The opener is blues funk.
"Get On Top" works as proto-dance music. "Sweet Surrender" is exotic,
middle eastern, a slow naughty satin burn--the stuff of your knuckle
rapping top-bottoned school teacher's most pleasent dreams.No doubt that the music is sure as hell great!
It's unclear what is supposed to unite the tracks
on Ouelele, an eclectic anthology of African and African-derived music,
aside from the announcement in the too-sparse liner notes that all the
tracks are "rare" and "obscure." But there is a theme here, intentional
or not: All these songs -- from 12 different artists from the late '60s
to the late '90s -- fuse Africa's native music with the jazz and funk
devised by the descendants of Africans living in the West. And so we
have South African Letta M'Bulu's "What's Wrong With Groovin'," which
swings as much as it grooves; Henri Guéon's "Volcano," which marries
Antillean drums to American brass; and "World War IV" by Antibalas, a
band that plays hardcore Afrobeat -- in New York City. By the time
Smahila and the S.B.'s concluded the nearly 19-minute "African
Movement," it wasn't clear just who was being channeled, Fela Kuti or
James Brown. There are no weak tracks on this album, but the best is
"Unity" by Philip Cohran and the African Heritage Ensemble. From a
droning, hypnotic violin line, Cohran builds a piece that would sound
equally at home a million years in the past and a million years in the
future.
A groundbreaking set of work from the team of Jef Gilson and Hal
Singer -- a uniquely cross-cultural session recorded in the Paris scene
of the 70s, and easily some of the best work ever from both musicians!
Singer's probably best remembered on these shores for his older R&B
tenor work of the 50s -- but sometime during the 60s, he moved over to
Paris, where he cut some mighty great music -- including the legendary
Paris Soul Food album, which predates this one by a few years. Gilson
was always a great artist on the French scene -- a modern pianist whose
work of the 60s was always fresh and new, and a player who moved into
more of a world jazz sensibility as the 70s approached. Together, both
players work some real magic here -- deep soul from Singers tenor,
sharper tones from Gilson's piano -- and a range of weird and wonderful
notes from other players who include Bernard Lubat on vibes, Jacky
Samson on bass, Frank Raholison on drums, and both Del Rabenja and
Gerard Rakotoarivony on percussion -- really helping the record live up
to its "Africa" title! Samson's bass is especially amazing --
roundly-toned, and incredibly soulful -- as much so as his legendary
work with Marco DiMarco, but pitched slightly differently here -- and
titles include "The High Life", "Liberation", "Mother Africa", "Chant
Inca", and "Garvey's Strut". Plus, as an added bonus the CD also
features 2 incredible earlier tracks by Gilson -- material recorded with
Lloyd Miller back in the 60s -- playing "micro organ" and balaphon,
with a sound that's almost even more haunting than the main album. Other
players include "Pierre Caron on tenor and Alain Tabar-Nouval on alto
-- and titles include "Le Grand Bidou" and "Fable Of Gutenberg".
The Word is an instrumental rock/Sacred steel/gospel blues jam band. The supergroup included well-known musicians: Robert Randolph (pedal steel guitar), John Medeski (keyboards), and all three members of North Mississippi Allstars - Luther Dickinson (electric guitar), Cody Dickinson (drums, washboard), and Chris Chew (bass guitar).
The Word developed from a mutual affection for gospel music
and the Sacred Steel tradition shared by Medeski and members of the
North Mississippi Allstars. Chris Chew and Luther Dickinson were
particularly fond of a song called "Without God" on the Sacred Steel
Live! album, the only track credited to a then-unknown Robert Randolph.
They contacted Randolph and recruited him to form their own Sacred Steel
band, likely the first initiated by musicians outside the House of God
church organization.
Their debut self-titled album, produced by Medeski and released on Ropeadope Records . The album contains a
mixture of traditional gospel songs (played with instrumental
arrangements) and original instrumentals written by the group.A great album!
This is true rebellious music, as in uncompromizingly
authentic. It's one human being conveying his/her inner feelings to
other fellow beings via the medium of music. No middlemen required or
allowed.
But this soundtrack is also a celebration of life. There's the
full-glass joy and enjoyment of life's little pleasures and twists of
fate. But, since life as humans experience it, is hazardously strewn
with half-empty situations, the album has its share of wailing and regret
about life's imperfections and the "local", i.e. personal, toll it
exacts on our inner balances.
But even this sorrow is celebrated
and showered away in a series of songs that can't be reviewed, only
listened to. This is music that can't be studied and filed away. This
is music as a means of human communication, the direct lineage of the
one once enjoyed by cavemen and women as they recounted daily and
seasonal encounters with success and failures.
Rembetika is originated during the
late 19th century in Greece, becoming the folk music of the cities, sung by the
social outcast, the criminal and the dispossessed, the so-called
"rembetes" and "manges", in the illegal hashish taverns of the urban
underground. Hard gut-wrenching songs of passion, drugs, jail, disease
and death. The blues of the Greek peninsular.
Rembetika seems
to be the Greek cultural equivalent to Spanish Flamenco, Portuguese
Fado, to Latin American Tango/Mambo/ChaChaCha/Cumbia or to American
Blues. 'Rembetika' means the folkmusic from the suburbs of Greece,
the music of the outlaws. This musical phenomenon, performed by people
from proletarian background, has its origins in the oppression of
subversive thinking of all those people/outlaws and foreigners who moved
into Greece during the 30s.
They created their own culture down
in the suburbs, near the harbours of Thessaloniki and Pirus. The
Rembetes loved to sing about drugs and jail, where the police put them
far too often for smoking their pot. Other recurring themes were
disease, passion, surviving in the suburbs and of course: dope, that is
using/smoking the Arjiles (Greek dope/water pipe). The Rembetes were the
true 'dopeheads' long before BeBop-God Charlie Parker or the Beatniks
came along.
The story of Rembetika represents the unofficial side
of Greek history: It tells the story of how the military government
during the dictatorship mistreated and abused the Rembetes and their
music.
Most of these wonderful songs on this double CD were
recorded during the period between 1926 and 1937 when Rembetika was
really 'hip' and 'big'. Then the dictator Metaxa and the Nazis took
over: the lovely gais country and the whole Rembetika movement came to a
complete standstill until the end of the war.
Rembetika is the music of the Greek underground. Songs about love, dope and survival.
