War – Deliver The Word

If I could just return to the subject of, y’know, vinyl for a moment…

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One of the great things about this random method of music procurment is the way that you can stumble across records that you never knew you needed, or perhaps never even knew existed, and fall instantly in love with them. As happened to me this weekend with War’s 1973 album “Deliver The Word”.

I try not to pay more than a quid for my records, but stumped-up the extra 50p for this as it’s in virtually mint condition and, on the strength of their later hits “Low Rider” and “Galaxy” alone, I had a really good feeling about it.

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Sure enough, it’s a beauty: a sweet selection of funk and soul cuts with “Me And Baby Brother”, the phat Moog riffs on “In Your Eyes” and the extended hypno-groove of “Gypsy Man” being sky-highlights to these ears.

Published in: on June 27, 2010 at 12:06 pm  Comments (1)  
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Elka Elkatone 700

OK – in line with the previous post – another totally out of the court post for yah.   You see yesterday morning I managed to score one of these amp/speaker combos – a classic from the 80s – link to thrifty vinyl you ask ??

Well you see this babe contains a 100 watt treble horn and 100 watt bass horn – both driven by loud-as-frig amps – now you see these horns are Leslie-style spinners – revolving – giving that classic Hammond-a-ramma phased effect – so plug in your hammond-esque keyboard – or noise-generator of choice and wig-out …

Normal service will be resumed once I stop annoying the neighbors/wife/kids ..

Published in: on June 27, 2010 at 10:55 am  Comments (1)  
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What Passes for Entertainment These Days at the Lyminge School Fair

Train I rieeeed....

I appreciate that I seem way off-message here, but today I played a medley of early E. Presley hits at my local school’s fete, many of which are available on compilation albums found in charity shops all over the country. (Didja see how I brought it back around there?)

Published in: on June 26, 2010 at 10:00 pm  Comments (3)  

Brass Strings and Beautiful Things

A selection of stuff from the awesome Telefunken label – picked it up for the Klaus Wunderlich track due to the use of a Moog – all the other numerous Wunderlich Lps I own (and there are far too many) – all have him tinkling along on standard organ – this one sees him laying down some phat-moog-bass before sprikling it with drums and organ – niiicceee,

The rest of the LP is to put it mildly a very mixed bag – including a rather creepy ‘Greensleeves’ where for some unkown reason the bass player thinks it is funk-track whilst everyone else sticks to smulch !!

Also contains a couple rather pitiful Beatles covers – but a rather rousing ‘ Day by Day’ (orchestral-stylee).. !!

Published in: on June 24, 2010 at 4:00 pm  Comments (1)  
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Strings For Pleasure Play The Music Of John, Paul, George & Ringo

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Another MFP release from 1975 (and another David Wharin sleeve) recorded at Abbey Road, appropriately enough. I wouldn’t have paid the original 87p for it, but 25p in 2010 is just fine.

I was expecting a total soft-orchestral bland-out, but the rhythm section is surprisingly full-bodied. Big-up arranger Denny Wright. Surprising also to find that it encompasses a few post-Beatles numbers, like “Imagine” (Lennon), “My Love” (McCartney) and “Photograph” (Starkey/Harrison).

It is amusing also to read Roger St. Pierre’s sleeve notes, which provide a cautiously optimistic slant on the Beatles’ legacy from a mid-seventies viewpoint…

“…it’s a chastening thought that many teenagers today are not even barely aware of just who the Beatles were…they have become somewhat dated in their content but the strength of those superb melodies has lived on…the passage of time has enabled us to re-guage their importance in a more dispassionate manner…their material will probably become as permanent a part of the musical scene as the works of Beethoven and his peers”

Published in: on June 24, 2010 at 9:50 am  Leave a Comment  
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Joe Loss – Non-Stop Big Band Bossa

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Having been beaten to the post by my colleague with the Pepe Jaramillo record, I thought I’d better get this one blogged before he finds it too!

Charity shops around here are typically littered with Joe Loss records, but this is the first time I’ve come across this one, another in MFP’s ‘Non-Stop’ series, and another typical David Wharin sleeve design. The model looks a little like a seventies floosy version of Carol Vorderman.

I had long-assumed that the market for budget bossa records (established back in the early ’60s) had peaked and finally died in 1973, but this one came out in ’75 – a final, desperate throw of the dice for a dying genre?

Published in: on June 24, 2010 at 9:09 am  Comments (1)  
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Sweet Sounds of Bert Weedon’s Guitar

It’s Bert Weedon innit….   Back in the heady pre-punk days us struggling guitarist fell into two learning-camps – those who used the Beatles Complete to later become wimpy-wristed rhythm guitarists – or those who had the Learn-in-a-Day Bert-W books to become neck-shredding metal-riffing monsters ….   I had the Beatles book  – go figure !!

This supa-smooth disc with the eye-catching sleeve on the mighty CONTOUR label give a romantic trawl through some slickly-played classics – who can’t help but get all watery eyed to six-string-versions of such classics a ‘Love Story’, ‘Lauras Theme’ not to mention the earth-shaking ‘Its Impossible’.

All tunes on the LP specially chosen by Bert due to being the most popular form his cabaret and theatrical appearances…   slammin (in a smoochy sort of way) !

Remember kids – we own this stuff – so you don’t have to …!

Published in: on June 23, 2010 at 4:52 pm  Leave a Comment  
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Pepe Jaramillo – South of the Boarder

Liner Notes:
“For some years now Pepe Jaramillo has been one of the most popular artistes in Mexico, and in addition, he has performed in various cities of South America and the United States. He was born in the state of Chihuahua, that part of Mexico which contains the upper stretches of the western Sierra Madre. his love of music and his talent for playing it seem to have been inherited from his mother ; at any rate, Pepe began playing the piano when he was only four, working at first entirely by ear, but later – after he had grown up – studying at the Conservatory of Music in Mexico City. Like so many parents, Pepe’s father and mother looked on music as a hazardous career, and, while they were happy that their son should make it his hobby, they wanted him to become a dentist. To please them Pepe studied dentistry at the University of Mexico, but after a couple of years he decided this could never be his profession. As his parents insisted that he get some kind of degree, he attended the school of banking, eventually returning to Chihuahua with a degree in banking and secretarial practice.
Pepe worked for a couple of years with a British mining company, spending most of his vacation in Mexico City and, when that job finished, he went back to the capital. There a stroke of luck occurred which changed his entire life. He was having some drinks with a few friends in the bar of the Ritz, the most fashionable hotel in Mexico City, when they noticed there was a piano in the room. “Why don’t you play it?” asked his friends, so Pepe sat down and started to entertain them. “Presently the manager came over,” recalls Pepe “and asked if I was a professional pianist. “No,” I told him, “just playing for my own amusement.” When the manager asked if he would like a job performing at the hotel, Pepe thought he was kidding, but decided to keep the joke up. “Well,” he said, “if you can pay me what I want, maybe I will”. To his astonishment the manager replied, “Come in tomorrow and we’ll talk things over”.
that is how Pepe Jaramillo became a professional pianist, and for the next three years he performed at he Ritz bar. During that time he also appeared regularly on Radio and TV, as well as being in demand to accompany various singers who visited Mexico City. (He has worked with a great many of the most famous Latin-American and Spanish artists). When Pepe finally left the Ritz, it was to go into a new club – El Quid a very smart restaurant-bar, where he played right up to the moment he would like to see something of the world outside South and North America. After coming to Europe he spent a few months in Paris, then crossed the Channel and come to London early in 1958. Since then he has appeared on radio and TV in this country – including ABC-TV’s weekly ‘Sentimental Journey’ programme – and made his recording debut here with his popular ‘Mexico Tropicale’ LP. Since then he has made many successful records.”

And – a very nice grooving selection of bongo-laden, guitar strumming, piano tinkling latin rhythms they indeed are – mmmmmm – NICE !!

Published in: on June 22, 2010 at 4:26 pm  Comments (5)  
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Emmanuelle 2 – Music by Francis Lai

Following on from the Farmer’s erotic post (and reply) comes, erm, this soundtrack, purchased at a charity shop in Canterbury whose charity was not apparent to me.  Obviously bought for the cover, I was nonetheless peeved when I got this baby home to discover the first Whitney Houston record within. Ugh.

What looks to be an abnormally straight jet of semen heading to the heroine’s lower lip is a design feature of unknown purpose, not a piece of schoolboy vandalism.

Edit 10.11.11. — the strange dark design in the background of this cover, is shadow image of the figure on the cover of the first Emmanuelle Lp. Just noticed.

Published in: on June 17, 2010 at 9:15 pm  Comments (4)  

Yehudi Menuhin and Ravi Shankar – West Meets East (Angel 36418) (1967)

This is a lovely record on EMI’s Angel imprint which, I’m guessing because of its vintage, introduced many in the West to the joys of Indian classical music. The album was apparently the fruit of the two musicians’ collaboration at the 1966 Bath Music Festival. In fact, the headliners appear together on only two of the four tracks, totalling 13 minutes; the other 12 and 24 minutes are taken up by a Shankar Raga and a Menuhin interpretation of Georges Enesco’s Sonata No. 3 in A minor in the “Popular Rumanian Style”, respectively. Menuhin’s choice was particularly appropriate because, although a Western-composed sonata, in its recurring ominous drone it bears hallmarks of Indian music (and indeed much of what we call “traditional” folk music).

To my untutored and Beatle-saturated ears, I hear echoes of “Love You To” and “Within You, Without You” on the Shankar tracks. Apart from demonstrating my philistinism, I suspect that this might be because there are number of typical sitar “licks” in Indian classical music, just as there are typical figures in other improvised form, e.g. Blues music. Then again, maybe not.

Published in: on June 17, 2010 at 8:50 pm  Leave a Comment