miércoles, 28 de abril de 2021
PERE UBU - Elitism For The People 1975–1978 [USA rock, art rock 1975-78] 2015 Fire Records FIRELP406
ABNER JAY - True Story of Abner Jay [USA blues, country, folk compilation 1963-1976] 2009 Mississippi Records MR-036
A classic! Abner Jay was a one man band with a style completely onto himself. His music harkens back to the sounds of the 1800's (pre blues) but somehow sounds wholly modern at the same time. Abner plays drums with his feet, electric banjo and harmonica and sings with one of the richest baritone voices you'll ever hear, all at the same time.
This LP features the creme de la creme of Abners' self released music from the 60's and 70's - hits like 'I'm so depressed', 'Vietnam', 'St. James Infirmary, and 'The Reason Young People do drugs.' One of Mississippi Records absolute best titles hands down.
SOUND CEREMONY - Sound Ceremony [UK, Canada rock, proto-punk, psychedelic rock 1979] 2018 Celestial Sound Production RWG 002
"We bring to your attention, an invitation to the bizarre." So goes the final song on Canadian born guitarist and songwriter Ron Warren Ganderton 1979 LP with his group Sound Ceremony. Ganderton self-released three LPs with the band while living in the United Kingdom during the 1970s and 80s. First came Guitar Star (1978), then Sound Ceremony (1979) and finally Precious As England (1981). Despite some modest distribution and frequent gigs, the band never seemed to really take off and Ganderton eventually returned to his native Vancouver (where he still resides), leaving hundreds of unsold records in the attic of his house. While these copies seem to have been lost to the ravages of time. All of the group's efforts are undeniably unique, but their middle record is the true brain-damaged winner of the bunch. The record surely fits somewhere into the UK punk explosion of the day, but it's also looks back to the mid-sixties rock that Ron cut his teeth on and ahead to some sort of maniac future form of entertainment that perhaps has not been invented yet. Ganderton's mildly "out of it" stream of consciousness lyrics show a clear lack of self-censorship and that's really one of the albums strongest assets. He has created this character of himself as a huge rock star and a sex symbol, and who are we to deny his claims?
Sounds like a jacked up mix of Modern Lovers if they were football hooligans and a British Velvet Underground.
VVAA - Local Customs - Lone Star Lowlands [USA garage, psychedelic, southern, british blues 1970-72] 2010 Numero Group 034
Long after the Bopper’s plane crashed and the Winter brothers (Johnny and Edgar) and Janis Joplin split, Texas’ Golden Triangle was home to a vibrant group of musicians, songwriters, and entrepreneurs just trying to make it in Houston, let alone the world. Holed up in a run-down strip mall, groups like Mourning Sun, Insight Out, Sage, Sassy, Mother Lion, Hope, Circus, and Boot Hill tracked out hundreds of demos, most of which were put on the shelf and left to bake in the southeast Texas heat. Until now.
The Numero Group has painstakingly audited every tape in the Lowland archives, selecting the best of the best (22 tracks on CD, 28 for the 2LP) for this peerless compilation. The songs themselves run the gamut: southern boogie rock, CSNY clone workups, British blues thunder, garage-psych hangovers, Morricone-tinged supper club instrumentals, yacht rock, and what can only be described as Bobby McFerrin fronting the Velvet Underground...each of them threaded to another in the way only a tightly-knit scene knits its output together. Forget bringing these treasures back to life—Lone Star Lowlands gives them the life they never had.
DALE JENKINS - Undesirable Element [USA post punk, psychedelic 1985] 2021 Got Kinda Lost Records GKL009CD
Dale Jenkins’ Undesirable Elements, issued privately in the Washington, D.C. area circa 1985, is a homespun effort deserving of the audience and attention it never received upon initial release. Undesirable Elements—here expanded as Undesirable Element with appended bonus tracks—is a desolate and deconstructed album which touches on the subtleties and extremes of the human condition, and the nuances in between, across gnarled bits of proto-punk via abrasive, fuzzed guitars, and refracted mutant strains of British post-punk through a distinctly American underbelly sensibility.
jueves, 8 de abril de 2021
NRBQ - Ludlow Garage 1970 [USA rock, jazz rock, rhythm & blues live 1970] 2006 Sundazed Music SC 11082
Right out of the box NRBQ were a different kind of band. Their self-titled 1969 debut album opened with back-to-back covers of Eddie Cochran's rockabilly classic "C'mon Everybody" and Sun Ra's exploratory jazz adventure "Rocket #9," and things only got weirder from there. Very few people got it at first, but from the start "the Q," as they're often called, garnered a cult following that cherished their anything-except-crap-goes approach to music making. Wildly unpredictable, often chaotic, jaw-droppingly inventive and non-stop gobs of fun, NRBQ quickly became one of those you-have-to-see-them-live-to-understand-their-greatness bands that never quite managed to capture their particular genius in a studio setting. In keyboardist Terry Adams and guitarist Steve Ferguson, NRBQ boasted writers of stunningly eclectic (probably the word most often applied to NRBQ) taste and each member of the band -- which also included at that time vocalist Frank Gadler, bassist Joey Spampinato, and drummer Tom Staley -- was a virtuoso who didn't need to prove his virtuosity; and all were natural showmen who didn't need to strut to hold an audience's attention. NRBQ, even at this early stage (the band was still going strong more than 35 years later, with Adams and Spampinato still aboard), possessed an uncanny ability to handle any kind of music thrown at them. In 1970, that should have meant long guitar and drum solos, pretentious lyrics, a lot of preening and general bombast, but NRBQ were the anti-Woodstock and had no interest in falling in line with convention. Steeped in everything from deep soul to out-there jazz to roots rock & roll to harmonic pop to whatever oddball stuff came into their orbit, NRBQ shed rock's heft, threw their collective influences into the hopper, shuffled them around and created something new and refreshingly original -- and that approach has never been altered. This January 1970 concert recording found the original Q -- augmented, as they have often been, by horn players Donn Adams (Terry's brother) and Keith Spring -- in sizzling form at Cincinnati's Ludlow Garage. It's circulated among the faithful for years but the official release is a stunning reminder of just how sweet fate can be -- that such like-minded players (hailing from Kentucky, the Bronx and Miami) could not only serendipitously find one another, but use their collective the-hell-with-preconceptions attitudes and encyclopedic discographical knowledge to their advantage is a blessed thing. At Ludlow, on a bill with blues guitar master Albert King, NRBQ unleashed all of their madness on a crowd undoubtedly comprised of those who'd already been indoctrinated, those who'd soon be bowing at their altar, and those who'd spend the set scratching their heads. After all, this was a band that slid easily from a tough but smooth take on the Falcons' pre-soul, gospel-esque ballad "I Found a Love" right into Rahsaan Roland Kirk's "Here Comes the Whistleman," and later on followed up "Ida," co-written by Terry Adams and jazz artist Carla Bley (the latter also appearing on that debut album), with the old Hank Ballard R&B stomper "Finger-Poppin' Time." And a band who, midway through their set, snapped off a string of half-a-dozen songs ranging in length from under a minute to just over two, unheard of in the era of the Fillmores. As musicians, the Q were peerless -- you can hear the template for the secret behind the band's long run in the looseness that characterizes their playing here. Whether covering Little Richard's ripping "Rip It Up," the Billy Stewart soul ballad "Sitting in the Park," or hammering through a nine-minute epic expansion of Terry Adams' "Kentucky Slop Song," in which the horns take off on a Dixieland-gone-crazy ride, these guys never fail to keep things lively. Following a "Rocket #9" opener even more extraterrestrial than the studio version, Ferguson, in his own "Flat Foot Flewzie" (also from the first album), demonstrates how a guitar solo can be both economical and inspiring, while Adams' Thelonious Monk-like keyboard fills exhibit both a strange randomness and a consummate understanding of his instrument's possibilities. Staley's drumming is muscular yet a bit loopy (in a good way) and Spampinato's bass provides a solid but melodic anchor. Gadler, meanwhile, proves a commanding singer who avoids rock clichés. A year later, changes would begin within the lineup, and by the mid-'70s Gadler, Ferguson and Staley were all gone, and NRBQ became the long-running quartet of Adams, Spampinato, guitar giant Al Anderson, and drummer Tom Ardolino. But that's another story for another time. This Ludlow show is the earliest official live Q on record, and as such is an essential document, not to mention one kickin' set of live music.
BANNED FROM CHICAGO - 1978 [USA punk rock 1978] 2018 Alona's Dream Records ADR CD 026
BANNED FROM CHICAGO formed in Chicago’s nascent punk scene circa 1977. Not content with their hometown, they decamped for NYC in early 1978. But before they departed Chicago, they recorded a set at a studio on the south side. The eight songs sat unreleased until rediscovered in 2017. Banned From Chicago is twin guitars, throbbing bass, heavy drums and a unique take on punk’s early sound.
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