Cratedigger’s Lung - catch it
2 weeks ago
Tracklist:Men From S.P.E.C.T.R.E. - ClawAfter 4 years Men From S.P.E.C.T.R.E. strike back with their new masterpiece album 'Claw'. This time they dive even deeper into the late 1960s and early 1970s groovy spy sounds and deliver with the quality of a Swiss made clock the ultimate Retro-Dance-Party album. The sound and music of 'Claw' is so mind blowingly authentic, you feel immediately taken on a trip by a time machine into the decade of Austin Powers spies, lies, and thighs. Hammond-sounds, 1960s Garage, Beat and Psychedelic Rock and a hard knocking rhythm section melt into fireworks of an awesome spy thriller of the imagination. Rather than trying to recreate the 60's mod sound, the men are now incorporating a more modern vision while staying true to the roots of the movement they further. Their songs are layered with multiple levels of sound, impeccable timing with sound effects that work with the music and don't stand out as cheap sonics, and the rhythms are both groovy and psychedelic at the same time. Way cool.
From the mid-'60s to the early '70s, there were quite a few instrumental releases recorded in the U.K. that seemed geared toward the easy listening market. Or, if the intention wasn't quite as gauche, they certainly weren't meant for the average rock fan, who likely wanted something hipper with more vocals and guitars. Still, even if the limited audience for these might have been (at least in part) listeners who wanted to feel a little hip without getting too far out, the musicians nonetheless couldn't help but be influenced by the rock, soul, and jazz trends of the day. On the Brink: Return of the Instro-Hipsters is a 20-track compilation of cuts from obscure 1965-1973 releases in this mold, with Swinging London go-go-like organs and brass being perhaps the most common (though by no means only) ingredients in the arrangements. There are a few names here that will be known to serious British Invasion fans, like Mike Vickers (from Manfred Mann), Jim Sullivan (the numero uno British rock session guitarist before Jimmy Page eclipsed him), Wynder K. Frog, the Mike Cotton Sound, the Dave Davani Four, Vic Flick (famous for playing on "The James Bond Theme"), and British senior jazz statesman Chris Barber; others are known as top cats in the British easy listening arena and have already been honored by reissues of their own (Ken Woodman and John Schroeder).
Nick Saloman of the Bevis Frond once again invites us to join him in the obscure pleasures of little-known pop, R&B, and jazz instrumental sides of the '60s and '70s with this collection. A number of the selections featured on Return of the Instro-Hipsters are so obscure that even Saloman isn't sure just who is responsible for them (though he offers some educated guesses on the artists behind such names as Sharks, Oliver Bone, and the Masked Phantom), but there are a good share of solid grooves and kicky melodies to be found here from a number of gifted little-knowns. If you went to the movies in the '70s, "Soul Thing" by Tony Newman will sound familiar, while flautist Harold McNair solos over a Dave Brubeck-influenced piano groove on "The Hipster," Jerry Allen demonstrates new uses for game calls on "Fuzzy Duck," Thunder Road's synthesized version of "Peter Gunn" beats Art of Noise's variation on the theme by more than 15 years, "The Brooke Bond Beat" by Cliff Adams may be the most swingin' tea commercial ever, and the Outer Limits serve up some tough, moody rock, appropriately titled "Black Boots." While there's a bit of "Space Age Bachelor Pad" ambience to this set, it's more a matter of evoking a period than obsessing over a particular sound or style; the disc doesn't wallow in camp for its own sake, with solid instrumental chops and strong songwriting the order of the day. Another solid offering from what's becoming one of the most consistently interesting reissue labels operating today.Tracklist:
Review by Mark Deming, Allmusic.com
The seemingly bottomless record collection of Nick Saloman from the Bevis Frond has spawned the third in an ongoing series of albums collecting obscure instrumental tracks from the '60s and '70s, and while many of these songs support the popular notion that the hipper and more interesting rock artists of the day were fond of vocal numbers, there are some fun and exciting tunes to be found on this set. Roaring Blue draws its title from the lead-off track, a swinging dance tune by the Sound of Jimmy Nicol, featuring the drummer who briefly replaced an ailing Ringo Starr during a tour in 1964 (this may explain why Nicol's drums are so far up in the mix), while members of the long-running U.K. pop band Blue Mink appear on the track "Beat Party" under the pseudonym the Underground, and John McLaughlin adds guitar licks to "Trans-Love Airways" by Big Jim Sullivan. That's about it for star power on this volume, but the lesser known acts are in equally solid form here, with the Des Champ Orchestra delivering a slightly rocked-up arrangement of the theme from It Takes a Thief, Casey and the Pressure Group bringing some supper club funk to a cover of the Shocking Blue's "Venus," Okko Bekker's sitar and a whacked-out synth solo adding to the fun on "Santana," jazzman Shake Keane generating a fine Northern soul dance groove with "Make with Shake," and the Jim Doherty Trio making with some potent organ-based groove jazz on "Ladies Wear"." Many of the other cuts on board are uncomfortably generic sounding, and too many of these songs fit into the same faux-R&B template, making the set a bit tiring by the time it comes to a close. But the good numbers manage to outnumber the bad (just barely), and if you have a soft spot for the kitschy side of U.K. pop, Roaring Blue is just what the doctor ordered.
Review by Mark Deming, Allmusic.com
Few rock & roll or R&B guitarists of the '50s and '60s have a more consistently frantic body of work than the great Mickey Baker, though his name isn't nearly as well-known as Chuck Berry, Bo Diddley, or Ike Turner. Baker did most of his work as a sideman, and his best-known recordings as a headliner found him playing second fiddle to Sylvia Robinson as half of Mickey & Sylvia (whose "Love Is Strange" remains a puzzling delight 50 years after it was recorded), but folks who know and love first-era rock & roll are aware of Baker's greatness, and this collection is a superb overview of his work, both as a bandleader and as a hired gun.
Containing a hefty 31 tracks recorded between 1952 and 1956, In the '50s: Hit, Git & Split runs the gamut from the low-key acoustic blues of Baker's "Love Me Baby" to the wailing electric dread of Larry Dale's "Midnight Hours," the uptempo rockabilly of Joe Clay's "Did You Mean Jelly-Bean," the easy-swinging jump blues of Sam Price's "Rib Joint," a double-time rewrite of Chuck Berry's "Maybellene" on Brownie McGhee's "Anna Mae," and a rockin' re-recording by Louis Jordan of "Caldonia" with Baker's guitar answering the hearty peals of the horn section and Jordan's vocals. The word "Wild" tended to pop up in the titles of Mickey Baker's solo albums, and one spin of this disc will show you why – the man's rough-and-tumble style screamed and hollered the blues whenever he hit the strings, and Baker's solos are death-defying hoodoo magic no matter what cut you cue up. Hit, Git & Split is a thoroughly enjoyable set of vintage R&B that's good and greasy throughout, and a peerless introduction to one of the great unsung heroes of rock & roll.
The Tikiyaki Orchestra exist in a class by themselves. There really is no other band quite like them on the planet. They take the Exotica tradition as established by pioneers Denny, Lyman and Baxter and bring it into the 21st century. Their unmistakable sound is a blend of the coolest retro styles–exotica, lounge, space-age bachelor pad, crime jazz, spy, surf, spaghetti western and more. The professionalism of the musicians is evident and the orchestration is right on. Like the perfect Martini, the sound is very clean and well mixed, especially from drums and vibes neither of which are overstated. They even throw in a little Hawaiian steel guitar to smooth things out. While Tikiyaki Orchestra certainly evokes the musical stylings of musicians like Martin Denny, Esquival, and Les Baxter, there is also a jazzy influence a little more reminiscent of Dean Elliot and Les Brown. It has been a long while since I have thought of any music as being just plain fun. This is. It makes you want to throw a party just so you can play this music during it. Spin "Aloha, Baby" at your next get together, it absolutely will have a positive and completely groovy effect on your guests.Track List:
The Tikiyaki Orchestra exist in a class by themselves. There really is no other band quite like them on the planet. They take the Exotica tradition as established by pioneers Denny, Lyman and Baxter and bring it into the 21st century. Their unmistakable sound is a blend of the coolest retro styles–exotica, lounge, space-age bachelor pad, crime jazz, spy, surf, spaghetti western and more. "Idol Worship" is a slightly new direction for the Tikiyaki Orchestra. They are moving in a more "surfy" direction and less of the traditional exotica feel in previous works. Several of the tracks sound as if they could be lifted from a B-movie soundtrack. The listener looking for exotica as done in recent years by the Tikiyaki Orchestra will be a little disappointed. A couple of tracks sound like Duane Eddy meets the George Shearing Quintet. Tikiyaki Orchestra's website calls the new music "sensual" and "most raw yet." Well, OK, if they say so. It's still awesome to these experienced ears.Track List: