Music Archive (274)
© Words Matteo Sedazzari
Ordinary Noise are two common words which are likely to be said on numerous occasions throughout a life time. Yet when these words are combined there is a surreal context to them, simple words yet complex, which in turn makes a great name for a band.
© Words - Simon Wells - 2014
Turn the clock back forty years, and one would probably find 26-year-old singer-songwriter Nick Drake alone in his bedroom in the leafy, chocolate-box environs of Tanworth-in-Arden, Warwickshire. Deflated, defeated, dented and depressed – Nick’s energy for life had evaporated in a fog of sadness and unfulfilled ambition – the prevailing morbidity dulled only by strong tranquillisers.
There are ONLY two words, other than the words themselves, which mean House Music … and those two words are … FRANKIE KNUCKLES.
I first read those two words in a New York Record store in 1987, when I was attending the New Music Seminar, looking for tracks to sign to my 'Urban' label. An up and coming DJ by the name of Paul Oakenfold and myself, were in Vinyl Mania on a midweek early afternoon, listening to
Bebop was a term used to describe the nonsense syllables used in scat singing which was a popular vocalising style around the late 20s in the US. It had originated in Ragtime music and was taken into mainstream jazz by Louis Armstrong. Many artists recorded scat music including Ella Fitzgerald and Cab Calloway. Released from the constraints of formal words, nonsense words and meaningless syllables allowed the human voice to be used as an effective instrument for vocal improvisation. Some of the nonsense words like "doo-wop”, “razzamatazz,” “skoobie-doobie-do,” “hi-de-ho” and bee-bop-a-lula,” survived to enter the common lexicon.
The Spectres were a London-based beat group which formed in 1967 with Francis “Mike” Rossi (vocals, lead guitar) and Alan Lancaster (bass) their core members. John Coughlan (drummer) joined the line-up which was complete with Roy Lynes (organ). After a trio of unsuccessful singles the band changed its name to Traffic Jam and concentrated on mod psychedelia but their early efforts were no better.
© Words Barry Cain
I stopped listening to ‘pop’ music in the mid ’80s. I simply heard it. It had become a means to an end, a way to make good, quick money. The musical notes had turned into £ signs as I cashed in on any new kid in pop town by publishing one shot poster magazines.
© Words - Matteo Sedazzari
“My strength is as the strength of ten, because my heart is pure.”
As stated by Alfred Lord Tennyson in his poem about the Arthurian legend Sir Galahad. Galahad noted for his chivalry, bravery and virtue, and with his traits, as the legend goes, to be one of only three people to see and touch the Holy Grail. Like a lot of legends and folklore,
© Words - Nick Churchill
Award-winning folktronica duo Solarference perform their electrifying live soundtrack to John S Robertson’s 1920 silent film of Dr Jekyll and Mr Hyde on tour this spring.The all-original soundtrack weaves layers of folk song and soundscape as it brings to life the shadowy magic on screen as Robert Louis Stevenson’s story revels in the contradictions of human nature.Described as “one of the most original acts playing English folk music” by fRoots magazine, Solarference – Nick Janaway and Sarah Owen –
They started to play at local venues in St Albans. Paul Arnold, left the group to become a doctor was replaced by Chris White. The lads were all clever and university bound at the end of the summer of 1963. For fun they entered themselves into a local band contest (The Herts Beat Contest) with the first prize a recording deal with British Decca Records. Rod and Chris hoped winning the contest would keep them together.
© Words Barry Cain
It was the summer of ’82. I was lying in the sun on Santa Monica beach watching the girls go by. Bikini-clad girls with Hollywood looks on roller skates whizzing past like angels in the wind, infecting my libido and twisting my melons.
And Tainted Love was all around. I felt it in my fingers… It poured out of radios and ghetto blasters and cafes and big cars full of big men with hot chicks eating hot dogs. It was fucking everywhere.
Son of a Tennessee sharecropper, Carl Perkins was born in 1932 and the middle son. He grew up picking cotton and got his first guitar aged 7 and it was made by his father from a cigar box, broomstick and baling wire. Carl would practice endlessly behind the chicken house pretending he was singing on Nashville's Grand Ole Opry. His boogie rhythm guitar style developed with lessons from a neighbour. He won a talent contest when he was 13 and had written a song called “Movie Magg," which a decade later would convince Sam Phillips to sign him to his Sun Records label.
© Words Matteo Sedazzari
The Secret Disco Revolution is an ambitious, well structured, informative and entertaining documentary made by Toronto born film maker Jamie Kastner. Kastner has chosen a music genre and movement that in the year 2014 most people take for granted, not in a dismissive way, but the sheer fact that if any famous piece of disco music, such as Thelma Houston’s Don't Leave Me This Way, comes on the radio or at a party,
© Words Matteo Sedazzari
When the album opens up with Steve Marriott bragging at the start “I've got a new axe, it's gonna make me rock hard man! “, you just know you are about to enter into a loud, powerful and epic voyage of pure rock ‘n’ roll. And if you were lucky enough to be in attendance at the Fillmore you certainly got your money’s worth, as you do with this album. Marriott and the boys play more than just a gig, they give a heroic performance that can now be remembered for the worth that it should.
Born in Glasgow in 1931, Anthony James Donegan was the son of a professional violinist who played for the Scottish National Orchestra. When his parents divorced in 1933 Anthony moved with his mother to East London (hence the accent). Young Anthony loved listening to the radio and enjoyed country and blues music as well as New Orleans jazz. He got his first guitar at the age of fourteen. Once he mastered the guitar he began playing around London and was eventually asked to join a trad jazz band led by Chris Barber. Barber thought Anthony could play Donegan banjo which he could not. He brought a banjo to the audition but failed to impress however he and Chris Barber got on so well Anthony was asked to join the band. In 1949 Anthony was called up for National Service and served two years during which time he hear a lot more American music. When he was demobbed his formed his own group called the Tony Donegan Jazzband in 1952 and took inspiration from a new source of blues and folk music from the library at the American Embassy, which allowed visitors to listen to any recordings that were on hand. The stage name Lonnie came as a tribute to Lonnie Johnson who Donegan admired.
The Tony Donegan Jazz band played on the same program with the blues musician at the Royal Festival Hall and was mistakenly introduced as Lonnie Donegan, he like it and the name stuck. In 1953 Lonnie was back with the Chris Barber, now in a band called Ken Colyer’s Jazzmen. Being that bit younger than the rest of the group Lonnie began to play skiffle in between the trad jazz sets. He entertained the crowd to some do-it-yourself music with a washboard, a tea-chest bass and a cheap Spanish guitar, singing folk songs and blues by artists such as Leadbelly and Woody Guthrie. So popular was the skiffle segments he was asked to record a fast-tempoed version of Leadbelly's "Rock Island Line", with Chris Barber's Jazz Band in 1954. The single with John Henry as the B side was a spectacular hit in both UK and the US. The King of Skiffle launched the craze which would lead to the creation of over 50,000 skifffle groups in the UK alone, Lonnie Donegan changed the face of popular music forever. Keen to pursue a solo career and left the Jazzmen. His first single “Lost John" hit No. 2 in UK.
A series of popular records followed including "Cumberland Gap" and "Does Your Chewing Gum Lose It's Flavour on the Bedpost Over Night?". He also turned to a music hall style comedy with "My Old Man's A Dustman". By the early sixties Lonnie Donegan was no longer a headline act but had inspired many of the new order of guitar players including John Lennon and Pete Townsend. He resigned himself to live concerts and cabaret and worked tirelessly touring the world circuit, starring in Las Vegas, Hollywood, New York, Canada, Bermuda, Australia and New Zealand. He was back in the UK for a reunion concert with the original Chris Barber Band in 1975 but back in the US severe heart problems forced him to retire in 1976. By now many of his disciples were established stars themselves and Adam Faith encouraged the King of Skiffle to cross the Atlantic and re record some of his earlier works with an array of stars including Ringo Starr, Elton John, Peter Banks, Ron Wood, and Brian May. All contributed to “Putting on the Style” which was released in 1978. A follow-up album featured Albert Lee and Lonnie Donegan singing country-and-western. Refreshed by the interest Lonnie formed his own Skiffle group and started to tour again. Health problems continued however and in 1992 Lonnie underwent bypass surgery.
Two years later he joined Chris Barber, when the trombonist band leader was celebrating 40 years of his band. Both reunion concert and tour were recorded. In 1999, collaboration with long-time fan Van Morrison resulted in Lonnie's first album release in 20 years, Muleskinner Blues. Lonnie became a frequent guest and opening act for Van's shows and in June 1999 played at the Glastonbury Festival and the Fleadh Festival, followed by a tour that autumn. Lonnie also featured in the Skiffle Sessions – Live in Belfast with Van Morrison, Chris Barber, with a guest appearance by Dr John in 2000. Lonnie died in 2002 shortly before he was due to perform at a memorial concert for George Harrison (a lifelong fan). He was aged 71.
© Kippen C. 2014 Article from Cameron K's Jock Pop Blog
Cameron’s Jock Pop Blog - http://tartanrocker.blogspot.com.au/