Rockin’ R&B laced with Chicago blues. An early lineup of the rock-and-soul Dynatones backs up veteran bluesman Charlie Musselwhite in a live set at the Belly Up Tavern in Solano Beach, California from 1982. Curtain Call Cocktails album by Charlie Musselwhite was released Feb 09, 1999 on the Westside label. Original 1982 live album, inc. 4 never before released cuts.
There have been several Georgie Fame compilations over the past decade, but it is this one on Raven that boils all of it down to the essence of his contribution to the Brit R&B beat-crazy scene of the 1960s and early ’70s. Here are the singles, the hits, the near misses, and the worthy album cuts compiled to show the audacity, imagination, and wild, swinging toughness of Fame. Fame’s earliest influences were Fats Domino and Little Richard, but by the time he cut his first album, Rhythm and Blues at the Flamingo, live at Great Britain’s notorious jazz club, he was deeply under the sway of Mose Allison’s Back Country Suite. And does that ever come across here. Fame was raw, in the moment, and always presenting his tracks with a slightly out of control feel. The 28 cuts here range from the jumping R&B of “Yeh Yeh” and Allison’s classic “Work Song” to his stellar read of Titus Turner’s “Get On the Right Track,” a smoky version of Milt Jackson’s “Bluesology,” a deeply soulful take on the John Mayall/Jon Mark groover “Something,” and the catchy pop ditty “The Ballad of Bonnie and Clyde,” which reached number seven on the American charts. (It didn’t hurt that the tune came out at the same time as the infamous movie starring Warren Beatty and Faye Dunaway.) All of these are in the first half of the set and recorded before 1967! But Fame could croon, too, as evidenced by this beautiful version of Little Willie John’s “Need Your Love So Bad,” with strings. The camped-up R&B move on Willie Dixon’s “Seventh Son” takes Allison’s version a step further, his horn-heavy rolling stroll on Bob Dylan’s “Down Along the Cove,” with a female backing chorus, completely reinvents the tune, and his jazzed-up New Orleans groove consciousness does the same on “I’ll Be Your Baby Tonight.”
In all, this is an indispensable collection for anyone seeking to get acquainted with Fame outside of his work with Van Morrison or interested in the finger-poppin’ beat madness of swinging London in the ’60s.
One of the great British R&B voices, this year Chris Farlowe celebrates 50 years in the business! He has worked with Jimmy Page, Mick Jagger, Eric Burdon and remains a favourite special guest of Van Morrison’s live shows and is most famous as a solo artist for his massively successful 1966 number one single Out Of Time.
Born John Deighton in Essex on 13 Oct. 1940, Chris Farlowe began his musical career with The John Henry Skiffle Group (inspired by his hero Lonnie Donegan) but after adopting a new name the band soon evolved into the R’n’R combo Chris Farlowe and The Thunderbirds (Farlowe being a nod to guitarist Tal Farlowe). The band recorded 5 singles on EMI’s Columbia Records but success came only after a move to Rolling Stones manager Andrew Loog Oldham’s Immediate label. Accordingly Farlowe got to record a lot of Jagger/Richards compositions including Think and his huge hit single Out Of Time with Jagger even sitting in as occasional producer. Also recorded on Immediate was the original Handbags And Gladrags, written by Manfred Mann’s Mike d’Abo for Chris. During 1965-1970 Farlowe was Immediate’s most prolific singles artist. Subsequent years saw him play with prog rockers Colosseum and the acclaimed Atomic Rooster before reforming The Thunderbirds. Chart success was achieved once again in ’75 with the re-release of Out of Time and the 80s, 90s and 2000s saw Chris guest on albums such as Jimmy Page’s celebrated Outrider as well as release his own albums The Voice, Glory Bound and 2003’s Farlowe That.
Hungary For The Blues was recorded live at the Gastroblues Festival Parks, Hungary on June 18th 2000, while tracks 13 & 14 were recorded live at Charlys Musickkneipe, Oldenburg on October 8th 2004. Joining Chris on Hungary For The Blues are Norman Beaker (Guitar), John Price (Bass), Paul Burgess (Drums, ex-10cc), Lenni (Saxophones) and Dave Baldwin (Keyboards), except for tracks 13 & 14 which feature Damian Hand (Saxophone) and Andy Kingslow (Keyboards).
Listening to Michael Whittaker’s debut Earth Tones is a lot like glancing at postcards from a short but eventful trip around the globe, with each tune offering a different cultural vibe based on brief visits to Scotland, France, Asia, and Africa. The young but well traveled keyboardist/composer keeps the travelogue light and frisky, as if to say, my last stop was great, had fun, wish you were here, gotta go — which is to say he only scratches the surface of world music but still engages us nonetheless. There are a few attempts at deeper explorations, most notably “Quench the Thirsting,” whose Swahili chants encourage a singalong but speak of the tragic drought in Malawi, Africa. Combining Yanni’s flair for symphony light with Jon Anderson’s ethereal Irish flavors, Whittaker remembers a trip to the green fields of “Highland Air.” Draws from other diverse influences throughout, including 70s wah-wah guitar driven soul (“Coffee of The Day”) and Pat Metheny (“Write on Track”), Whittaker enjoys taking us on an upbeat search for his musical identity
The Road from Memphis starts with a young Booker T. Jones hauling his stack of newspapers to Phineas Newborn s front yard where, while folding them for his after-school delivery route, he could listen to the jazz great practice piano. It ends with Booker and The Roots roaring through a set of both timeless and contemporary originals (and propulsive covers of Gnarls Barkley s “Crazy” and Lauren Hill s “Everything Is Everything”). Along for the ride are vocalists Matt Berninger of the National, Yim Yames of My Morning Jacket, Sharon Jones, Lou Reed, and Booker himself, telling the story of how the funk/soul sound that Booker helped invent spiraled out from Memphis, touching The Root s hometown of Philadelphia, New York (where engineer Gabe Roth has been recreating classic soul sonics for everyone from Sharon Jones to Amy Winehouse), and Detroit. Detroit as in Dennis Coffey, legendary Motown session guitarist who introduced driving rock funk rhythm to hits like “Cloud Nine” and “Ball of Confusion” by the Temptations, and brings his Detroit grit to these tracks. The Road from Memphis is classic Memphis soul, and classic Booker in the tradition of “Green Onions”, but beyond that it is the story of a sound, and how Booker, working with the inheritors of his sound, is keeping a tradition alive.
John Campbell lived a short life. And the shame of it is that his recorded musical legacy is short as well. A MAN AND HIS BLUES was recorded before John fell off into the hoodoo. It contains the type of music that made John a Blues legend in East Texas and Louisiana. The music is basic Texas Blues, not the dark and forbidding over produced stuff of the New york years. This is John as he was at Yakofritz or the Crossroads in Nacogdoches on those special Saturday nights.…
Harry Manx has been called an “essential link” between the music of East and West, creating musical short stories that wed the tradition of the Blues with the depth of classical Indian ragas. For Om Suite Ohm, his eleventh album, Manx teamed up with composer/producer Hans Christian (who worked with Daniel Lanois and was bassist on Robbie Robertson’s solo CD) in Australia where he recorded with guests Yeshe and didjeridoo player Ganga Giri, who played with Peter Gabriel.
Manx has been cultivating his musical roots for more than 30 years. Much of that time has been spent immersed in Eastern culture under the guidance of mentors like slide guitarist Vishwa Mohan Bhatt in India. With Om Suite Ohm, however, Manx seems to be expanding his global influences.
“Further Shore,” for example, sings of Spain with an overriding African melody, while “Way Out Back” is clearly drawn from countless tours in Australia.
Despite his little jab at the music industry’s need to pigeonhole, Manx is an artist who happily professes to always have one foot in the blues door. From India to jazz to Africa, it doesn’t seem to matter where the other foot may go. His intricate compositions, virtuosic playing and natural ability to blend genres have allowed Manx to carve out a place for himself in music that always feels like Om Suite Ohm.