Another great collection including another gorgeous originally unissued track from the Silvertone Singers and more fine gospel from Mary Deloatch, The Moses Gospel Singers and The Lincoln Gospel Singers. Talking about gospel - King Karl's rocking She's My Gal is a secular rendition of a gospel song but I can't quite place the original. Johnny Otis and his band are back with a couple of superb instrumentals as well as accompanying Redd Lyte and Mel Walker - most of his tracks feature Pete Lewis's stellat fretwork. Other artists include Big John & His Orch. (tough instrumental), Lover Boy Brown (probably the least interesting vocalist here), Hal Singer with Sir. Charles Thompson Orch. (the tough instrumental Disc Jockey Boogie with great boogie piano from Thompson), Gilbert Holliday (a moody instrumental version of the standard At Last, best known for Etta James' classic rendition), The John Hardee Quintet, Martha Davis and others. With around 60 singles issued on Acorn and Regent hopefully there will be more volumes. (FS) (Roots & Rhythm)
Don’t Miss Volume 1 & 2 in this fine series here: http://twilightzone-rideyourpony.blogspot.com/search?q=Rockin'+On+Acorn-Regent
trax:
1. Shindig - Big John & His Orchestra 2. Cool and easy - Redd Lyte with The Johnny Otis Orchestra 3. I Got It Bad (And That Ain't Good) - Allean Phillips 4. A Better Home - The Silvertone Singers 5. Dreamin' Blues - Mel Walker with The Johnny Otis orchestra 6. She's My Gal - King Karl with The Eddie Davis orchestra 7. Thinking Of You - Lover Boy Brown 8. Disc Jockey Boogie - Hal Singer with The Sir Charles Thompson Orchestra 9. Lincoln Gospel Train - The Lincoln Gospel Singers 10. I Can't Tell You Now - The Falcons feat. Goldie Boots 11. At Last - Gilbert Holliday 12. Jimmie's Blues - Little Jimmy & His Orchestra 13. Sure Like To Run - King Karl with The Eddie Davis Orchestar 14. Head Mother - The Johnny Otis Orchestra 15. Mother Dear - Mary DeLoatch 16. Just The Blues - Lover Boy Brown 17. Bad Man's Bounce - The John Hardee Quintet 18. Good Time Blues - Redd Lyte with The Johnny Otis Orchestra 19. It's All Right With Jesus - The Moses Gospel Singers 20. These Foolish Things - Gilbert Holliday 21. Baby, Watch That Stuff - The John Hardee Quintet 22. Freight Train Boogie - The Johnny Otis Orchestra 23. You're For Me - Allean Phillips 24. Chee-Bongo Blues - The Dimples Harris Trio 25. Helpless - Mel Walker with The Johnny Otis orchestra 26. I Don't Want You In My Arms - Tony Jenkins with The Ben Smith Quartet 27. When I Say Goodbye - Martha Davis
...served by Gyro1966...
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23 comments:
"Rockin' On Acorn-Regent"
...served by Gyro1966...
gitit! no pw
http://www23.zippyshare.com/v/7R4euOiG/file.html
Thanks for this and the links to the other two volumes as well...
BONUS 1 OF 6 @320
The Yardbirds - Ultimate! (Rhino)
It had to happen sometime, and after about 30 years of piecemeal Yardbirds compilations, here it is: a lengthy best-of anthology that manages to cross-license material from the Clapton, Beck, and Page eras. The result is a two-CD, 52-song anthology that includes all of their big hits, most of their outstanding albums tracks and non-hit singles, and a few rarities. If you're looking for one Yardbirds compilation, either as a starter or a summary, this is it. Previous anthologies almost always had to be divided in early 1966 after the "Shapes of Things" single for licensing reasons, but finally you can hear early blues-derived Clapton sides, 1965 initial British Invasion hit singles, "Shapes of Things," "Over Under Sideways Down," "Happenings Ten Years Time Ago," and the (comparatively slight) highlights of the 1967-1968 Page lineup all in one place. As quite minor quibbles, one could argue that some of the album tracks that were passed over -- like "Respectable," "Ever Since the World Began," and "Glimpses" -- would have been better choices than some of the cuts that did make it. A few relatively obscure items are included -- the late 1963 recording "Boom Boom"/"Honey in Your Hips," the 1965 B-side "Steeled Blues," the 1966 B-side "Psycho Daises," the Blow-Up soundtrack item "Stroll On," the weird Italian pop single "Questa Volta"/"Pafff...Bum," and particularly the three pop-folky 1966 songs from Keith Relf's solo singles. Some of those lesser rarities are at cross-purposes with the overall tone of a set largely selected on the basis of quality, rather than collectability. Still, with fine liner notes and packaging, overall it gives the music of one of the greatest rock bands the respectful, high-class presentation it deserves. (Richie Unterberger, Allmusic)
CD1
http://www12.zippyshare.com/v/g9fLJmZB/file.html
CD2
http://www12.zippyshare.com/v/gZXGQFsR/file.html
INFO
http://www.allmusic.com/album/ultimate%21-mw0000589722
http://www.amazon.com/Ultimate-The-Yardbirds/dp/B00005LMXN
BONUS 2 OF 6 @320 (Pt.1)
The Paley Brothers - The Complete Recordings 1976-1979 (2013)
For power pop fans and aficionados of the mid-to-late-'70s Boston and downtown New York scenes, news that at last a CD is coming out containing ALL of the sides the Paley Brothers released on the Sire label would be reason enough for rejoicing. But news that said CD also contains 11 unreleased bonus tracks drawn straight from the band's archives…well, that's cause for a national holiday among certain quarters of rock 'n' roll fandom! Andy Paley was the lead singer and songwriter for the legendary Boston band the Sidewinders and played with the Modern Lovers, while Jonathan was a member of CBGB's fixture Mong before the siblings formed the Paley Brothers in 1975, and were signed to Sire Records soon thereafter. However, while the band was a favorite of Sire label owner Seymour Stein, and their good looks put them on the covers of teeny bopper magazines, the Paley Brothers only recorded one LP and several singles of sweetly harmonious power pop for Sire that have since become serious cult classics. The brothers then went their separate ways: Andy went on to produce and/or write for such acts as Madonna, k.d. lang, Brian Wilson, Jerry Lee Lewis, Elton John, Brenda Lee, Little Richard, and SpongeBob SquarePants, and Jonathan played with and/or produced such bands as the Nervous Eaters, the Dogmatics, Band 19, Skirt, Shrapnel, Classic Ruins, and the Reflectors as well as composing for soundtracks. Now, 35 years after the release of their lone album, the Paley Brothers are back with a collection of 26 tracks they compiled and polished in the studio, their complete recordings including the entire 1978 self-titled release on Sire produced by Earl Mankey and the singles they recorded for the label produced by Jimmy Iovine, plus the version of "Come On Let's Go" they recorded with the Ramones that was on the Rock and Roll High School soundtrack; the song "Jacques Cousteau" they recorded under the name The Young Jacques; and 11 unreleased tracks, highlighted by two from their 1978 Madison Square Garden gig opening for Shaun Cassidy and a track they recorded for Sire, "Baby, Let's Stick Together," that was produced by none other than Phil Spector. Gene Sculatti's liner notes include copious quotes from the Paley Brothers, testimonials from such luminaries as Seymour Stein, and photos from their private archive. The power pop release of the year, decade or even century! (Yellow Pills)
The Paley Brothers - The Complete Recordings 1976-1979 (2013) (Pt. 2)
Among those in the know, the Paley Brothers are the stuff of legend. Andy wound up achieving some measure of fame as a record producer but when he and his brother Jonathan played pure pop in the '70s, they never had a hit, no matter how hard they tried. Unlike Shaun Cassidy -- who they did open for and, arguably, they were much cuter than that famed teenybopper -- the Paley Brothers wrote their own songs and not only did they play their own instruments, they played them well. Unlike the Ramones, who were also signed to Sire just before the Paleys and who invited the brothers to appear on the Rock 'n' Roll High School soundtrack, there was no ironic distance to their pop: they sang songs of sunshine and puppy love, sounding like the heirs to the Beach Boys. And, unlike Eric Carmen and the Raspberries or Cheap Trick, they never leavened their harmonies with crunching chords; there was no power to their pop. Judged by their sound, they were children of AM pop, but by habit and inclination they were power poppers, running with the Ramones, Patti Smith, and other first-generation punks, playing CBGB even when they were getting press from 16 Magazine.
All the ingredients for massive success were there but success never came, leaving the Paley Brothers as perhaps the greatest example of a band that, by nearly every measure, should've been stars. Compared to Big Star, the legendary unheard guitar pop band of the '70s, the Paley Brothers were bright, cheerful, and uncomplicated. There was no messiness, no conflicted emotions or strange detours into Indian music, which is probably why their cult never extended beyond pop true believers, but hopefully Real Gone's long-awaited 2013 release of The Complete Recordings will broaden their cult considerably. Although sequenced non-chronologically, The Complete Recordings has all of their 1977 full-length LP, their 1976 EP Released on Ecstasy, the deliriously fun 1979 single "Jacques Cousteau (The Young Jacques)," and their Ramones-backed contribution to the Rock 'n' Roll High School soundtrack, along with no less than 11 unheard songs from the vaults (according to an interview with Jonathan conducted around the time of this CD's release, there's enough unheard material to comprise a Complete Recordings, Vol. 2). By mixing up the unheard material, all recorded after the duo left Sire, with the LP and EP, the compilers force focus on the individual songs, front-loading the disc with four impeccable pop tunes, all unreleased -- "Here Comes My Baby," an original that's an unabashed '60s throwback; the candied "Meet the Invisible Man"; "Too Good to Be True," which may be the closest they ever got to true power pop; and "Boomerang," a perfect Beach Boys tribute -- before delving into the surprisingly muscular live cut "Felicia." Here, much of the Paley Brothers' strengths has been revealed and the disc hasn't even gotten to the songs that were released. As it rolls on, the album demonstrates the Paley Brothers' musical dexterity, keen songwriting, sharp sense of humor, and a sunny disposition that never becomes cloying. They are pure, unaffected joy and that is a wonder to behold. (Stephen Thomas Erlewine, Allmusic)
http://www52.zippyshare.com/v/A8UWxMqp/file.html
INFO
http://www.allmusic.com/album/the-complete-recordings-mw0002561436
http://www.amazon.com/The-Complete-Recordings-Paley-Brothers/dp/B00DU11F4Q
BONUS 3 OF 6 @320
Os Haxixins - Os Haxixins (2009)
Named for a band of hard-living 19th century poets and intellectuals with a powerful fondness for hashish, Os Haxixins are a retro-styled garage rock combo from Sao Paulo, Brazil who play this stuff with a keen eye towards authenticity -- they use vintage gear exclusively, wear period threads rescued from junk shops, and even postponed the recording of their debut album until they could find a local engineer who could capture their sound on analog tape rather than a digital hard drive. And the effort seems to have paid off -- Os Haxixins gets the sounds right, but also captures an impressive share of the gritty, fuzzy soul of classic garage rock and early psychedelia on these 16 tunes. Dominated by Alexandre Alopra's loping Farfisa organ patterns, Os Haxixins recall the druggy fire of the Seeds and the Electric Prunes, though if anything, they manage to sound even more primitive than their key influences, and while they take a purist's approach to garage rock, they're not afraid to get aggressive, especially when guitarist Fabio Fiuza hits his fuzz pedal for a ripsaw solo. Though English lyrics pop up here and there, the bulk of the songs are sung in Portuguese, which for English-speaking garage fans might make this either more exotic or less approachable, but it also gives Os Haxixins a sonic personality that helps set them apart from plenty of other acts on the contemporary garage scene. Some bands obsessed with the sounds of the '60s don't do much more than recycle what earlier groups have already created, but Os Haxixins stay true to their vision of the past while bringing something to the style that's their own, and this is certainly one of the better garage revival albums to emerge in recent years. (mark Deming, Allmusic)
http://www30.zippyshare.com/v/jiSYcAla/file.html
INFO
http://www.allmusic.com/album/os-haxixins-mw0001764216
BONUS 4 OF 6 @320
Nico & The Rhythm Dudes - Meet Me In The Basement (2009) Rhythm Bomb Records
Rhythm & SwinginBlues might be the best way to describe the music served by Nico Duportal (guitar/vocal). He takes his inspiration from the black roots of rock n roll as well as the popular Afro-American music of the 50s, including the early Rhythm & Blues and swing. Nicos music has just one goal, to get people dancing and to shake them up in every sens of the term. Oscar McLollie, Joe & Jimmy Liggins, Stick McGhee, Red Prysock & Tiny Grimes, Little Richard, Ike Turner, Larry Williams are some of Nicos heroes.
Nico has been backing up some of the greatest artists from USA for several years, such as Lynwood Slim, Big Jay McNeely, Gizzelle, Roddy Jackson, R.J. Misho, Junior Watson, Alex Vargas, Gene Taylor, Mitch Woods, Wanda Jackson and Doug Jay. He has been appearing with Big Sandy, Ray Collins, Duke Robillard and so on. Nico and his band have had extensive tours of Europe to the roads of festivals and clubs in Belgium, the Netherlands, Luxembourg, Germany, England, Scotland, Spain, Italy and also Australia in 2013.
Inspired by the conditions at the famous Parisian club and temple of swing "Le Caveau de la Huchette", the cd "Meet Me In The Basement" was recorded in 2009 in a small room during live conditions and without overdubs. (Blues World)
01. 5 Months, 2 Weeks, 2 Days (2:11)
02. Kidney Stew Blues (4:11)
03. Women & Cadillacs (3:05)
04. Evenin (3:41)
05. Meeet Me In The Basement (3:10)
06. You Came A Long Way From St. Louis (2:49)
07. Rm Blues (3:16)
08. Sausage Rock (2:35)
09. Texas Hop (3:01)
10. Polish Woman (3:29)
11. Ho Ho Ho (3:36)
http://www3.zippyshare.com/v/pNqg4aoq/file.html
INFO
http://www.discogs.com/Nico-And-His-Rhythm-Dudes-Meet-Me-In-The-Basement/release/5060725
BONUS 5 OF 6 @320
The Spirit of Atlanta - The Burning Of Atlanta (1973)
Totally great – and a record you probably know nothing about! The album's one of the greatest ever to come out of the Hotlanta scene of the 70s – a tight batch of funk tracks with a heck of a lot of guitar. The set was produced by Tommy Stewart, of "Bump and Hustle" fame – and it's got an unusual style that's equally appealing to fans of funk, and fans of clubbier music – lots of tight playing, hard riffing, and longer grooves that soar along with impeccable grace. The whole thing's almost like the classic Wood Brass & Steel album – but with some rougher edges that make it even better! Includes the great tracks "Vine City" and "Messin Around", both of which are very long funk tracks, plus shorter cuts that are just as funky, like "Down Underground", "Freddie's Alive and Well", and "Buttermilk Bottom". Don't pass this up, it's a funky monster classic! © 1996-2016, Dusty Groove, Inc.
While essentially a vanity project for composer/producer/arranger Thomas Stewart, backed here by a cadre of "Hot 'Lanta" session players, The Burning of Atlanta is nevertheless an excellent funk LP that boasts the panoramic scope of a classic blaxploitation soundtrack. With the vocals embedded deep in the mix, the emphasis lies squarely on the record's intensely hypnotic grooves -- most of the tracks extend past the five-minute mark, with the epic "Messin' Around" clocking in at nearly twice that total. Stewart's dramatic melodies also boast a sheen recalling Curtis Mayfield's classic Superfly -- and just in case you couldn't place the reference, there's even an answer song: "Freddie's Alive and Well." 9Jason Ankeny, Allmusic)
http://www45.zippyshare.com/v/3H5TiGW7/file.html
INFO
https://www.dustygroove.com/item/1524
http://www.allmusic.com/album/the-burning-of-atlanta-mw0000238478
BONUS 6 OF 6 @320
Duane Jarvis - Delicious (2003)
"It takes a worried man to sing a worried song/Had no idea I'd been singing for so long."
On his latest solo release, Duane Jarvis offers up a now familiar smorgasbord that ranges from soulful ballads ("Can't Build A Better Love") to his trademark brand of humorous, herky-jerky country funk ("Coulda Shoulda Woulda"). Jarvis' vocals have gotten better with each album; working with writers such as Tim Krekel, Peter Case, Kevin Bowe and Tim Carroll, he convincingly delivers some of the best lines of his career here.
"Spread My Soul Too Thin", written with Chuck Prophet (who plays bass on the track), exudes that end-of-the-world Leonard Cohen vibe Prophet seems to know so well. Featuring Tammy Rogers' chilling cello, this track takes Jarvis into new and exciting artistic territory, and he seems quite comfortable there.
If Jarvis has had a shortcoming, it is that, like fellow guitar monster Buddy Miller, he has tended to keep his guitar playing mostly in check on his own recordings. But Jarvis gets edgy and dangerous on the murky "Prodigal Daughter" ("She drank one too many 24-ouncers/Jessie ran off with the tattooed bouncer"), and on the album-closing "Happy Town", he unleashes his inner guitar dog with one of the loudest, loosest, go-nuts solos you're liable to hear in this or any year. Delicious goes from mellow to meltdown, and is easily the best album of Jarvis' career. (No Depression)
This is Duane Jarvis' fourth album as a frontman (not counting the live Combo Platter) and his second for the well-regarded Slewfoot imprint, a label that specializes in borderline uncategorizable roots rock singer/songwriters. That's a non-description that fits Jarvis' music pretty well. His sound is strictly old-school, his tempos generally languid to sludgy, his voice gritty and laconic. The songs tend to be wry, but not bitter; on numbers like "Prodigal Daughter" and "Come Back Again" he sings about forgiveness -- though, granted, forgiveness of two very different kinds. On "Can't Build a Better Love" and the title track he sings about the kind of love that grows over time as the result of long-term fidelity and devotion. But it's not all comfortable domestic satisfaction on this album: the Tex-Mex-flavored "I Miss You Already" is pure romantic regret, and in the ironic "Happy Town" he finds the symbol of a schizophrenic city in a jukebox that alternates between the Rolling Stones and the Count Five. A few of his moves seem a bit mannered and obvious, like the roadhouse piano and resonator guitar on "Come Back Again" and the shuffling, enervated tempo on "Lower Than Lonely." But take the album together as a whole and you'll likely find it very satisfying. Recommended. (Allmusic)
http://www45.zippyshare.com/v/XwDXch1c/file.html
INFO
http://nodepression.com/album-review/duane-jarvis-delicious
http://www.allmusic.com/album/delicious-mw0000323212
Thanks once again, now for the great YBirds anthology,
and Atlantic funk, and... What a great day!
Cheers Daniel, from Spain...
Many thanks for the Paley Bros & Spirit of Atlanta.
Gyro, thanks for The Spirit of Atlanta. Sounds like a great collection based on the description. I will be cranking it up soon on the streets of Atlanta!
All you TZ contributors: You leave me breathless and wishing for a couple more lifetimes in which to absorb these treasures.
Gyro1966, thanks for The Spirit of Atlanta. It’s an absolute stormer that one.
Not quite as good, and a tad different, here’s one I didn’t spot last year. A bit of a return to form by Rhode Island’s finest?
This is via torrent, so many thanks to the uploader “messulnga”.
Lightning Bolt: Fantasy Empire (2015).
http://www31.zippyshare.com/v/uCxxRROf/file.html
Enjoy!
J in Liverpool
Thanks
Thanks so much for the Duane Jarvis. I have his first three CDs and really enjoyed them all, especially Certified Miracle. Never had delicious, so looking forward to a listen this evening.
Also, wondering if anyone has any opinion on the Weeklings album. I like their take on You Know What to Do, but haven't really heard the rest of album and wonder if it is worth it.
Bill
Hey, uhhh, J in Liverpool, I don't know if there's a Rhode Island in England somewhere, but I've lived most of my life (and that's a lot of years) in the Rhode Island in the United States, and I never heard of Lightning Bolt.
Dear O.B. Dan,
Providence my friend! They did the Peel Session to end all Peel Sessions a few years ago. I meant to track their stuff down straight after hearing it but delayed a few months and then got them confused with Bolt Thrower. Hmmm....
Regards!
J
J, mi amigo...Rhode Island is an incredibly small state, and Providence is only fifteen minutes away - and it's the only city with any concentration of rock joints. When and where did they play here? Does their bio info say they call Providence home?
I am betting that this band is not from Rhode Island if OB Dan doesn't know them. The fact that you state they did a Peel Session also suggests that they aren't from this small state. Maybe there is another Rhode Island elsewhere in the world.
Hi O.B Dan,
It seems this band do indeed claim to be “based” in Providence, Rhode Island. One member is from New York City, NY and a former member is Japanese. They were students at the Rhode Island School of Design apparently and recorded some stuff at the Fort Thunder warehouse. Apt as they are certainly thunderous and could blow a bonded warehouse down!
I can’t believe the Peel Session was in 2004 – I would have guessed it was only 5 or so years ago. I had the session as one complete take, but found the split tracks on Egg City Radio – so thanks to them. Here are both. No artwork alas.
Intro / 2 Morrow Morrow Land / On Fire / Dracula Mountain / Dead Cowboy / 30,000 Monkeys / Rotator
Lightning Bolt Peel Session 31is March 2004:
http://www7.zippyshare.com/v/nAFuk45K/file.html
Best wishes
J in Liverpool
Tanx for the Paleys!
thanks RYP for the Acorn Regent Comp some classy stuff here - much appreciated
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