No, I Will Not Leave U2 Alone
1 day ago
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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.
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