That was no surprise given the quality of the three albums he released. The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove.
By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster. Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track.
However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal. Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist.
Despite that, it was the most successful album that Black Jazz Records released that year. Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz. These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America.
This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business.
And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.
In all, 27 tracks make their CD debut. Needless to say, Ken has also written some notes, and has provided some rare photos for the set.
The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials. His album Colors was originally a The Brothers Johnson* - Out Of Control (Cassette of radio spots for the Fuller Paint Company.
The accompaniment is not always jazz, nor is it exactly accompaniment. The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record. But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well. The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine.
The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!
Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc. Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors.
They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train. Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted.
Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces. Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Prince's recording plethoric recording output still begs for a proper reissue job.
Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles. Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least.
Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time.
All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics. He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best.
Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions. When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day.
He continued with the occasional live appearance, some of which I saw and which were always of the highest possible standard. I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now.
It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica.
It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics. On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and came out exactly the same as ever.
He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing. You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen.
At first he was picked up in this country largely by working-class kids who could probably relate The Brothers Johnson* - Out Of Control (Cassette the subject matter. Initially ska and reggae was mainly ignored or ridiculed by the mainstream and rock critics — maybe that was partly because Prince Buster was at the forefront of Jamaican lyricists, blatantly and unashamedly covering subject matter that was more or less unheard of in either Europe or America.
From ghetto violence and crime, to sex in detailfrom black power and black pride, to commenting on social injustice and poverty, from advocating freedom from colonialism and solidarity with Africa, to other important matters like ridiculing his musical rivals or consigning them to the boneyard, or describing the music on his own record itself and how good that was — nothing was off limits.
In that way lyrically he influenced hip-hop and a lot that was to follow the world over. Buster and some of his Jamaican peers were liberating the sort of real language and subject matter years before it would eventually become commonplace not just in music, but in mainstream TV drama and comedy.
Stylisticallythe very idea of reciting over an instrumental backing track, which Buster was a pioneer of, became the basis of hip-hop years later when the Jamaican DJ Cool Herc introduced it to the Bronx. Buster was really the first king of Jamaican music and started an international process which, with the help of its second king, made reggae probably the most popular music in the world, only to be eventually surpassed in popularity by hip-hop, a form which it had itself helped create.
Myself and all the Two Tone bands owe him an enormous debt of gratitude. New York. Drawn from tapes recorded with King Tubby's Soul Syndicate band, the music included on 'Reckless Roots Rockers' is deeply ingrained with fissures of rhythm and dub melodies - bringing a vast array of talent to bear on some fabulously low-end material. With much of the album recorded in Jamaica, there were plentiful tributaries on which to draw, as the likes of Jah Carlos, Bullwackies Allstars and Album) Morgan all make fierce appearances.
Opening through the Reckless Breed's 'Dub Full Of Girls', we're immediately transported to a humid smoke-draped environ - as the familiar melody snakes its way through jaunty rhythms and an overarching sense of light that is a welcoming salve for a dark November night. For those who know about such things, the inclusion of Don Carlos' deadly 'Jah Man' will be of particular note - with this particular slice of dub fortitude crafted over a rhythm double-take of Wayne Jarrett's 'Bubble Up' unavailable anywhere else and now rightly resurrected for appreciative audiences to rediscover, whilst dubs of Wackies' vast Black Harmony rhythm crops up throughout like a welcome friend throughout.
Elsewhere, 'Exposure' from the Sylvesters is a lithe and uncluttered beast, Bullwackies Allstars 'Creation' contains some demon rhythms, whilst 'Chin Chow' from Reckless Breed will have you nodding till Sunday. Posted by Jillem on Wednesday, September 29, Killer heavy roots business.
Jah Lloyd, a. He looked the part of the artist down on his luck, his frame wizened by poor health, his gait slow; but his clothing was flamboyant and his eyes keen. Sitting on a shady porch, he allowed me to turn his attention from his daily struggle for a living to his great works done twenty years before.
He spoke about his songs with great care, almost tenderness. We made plans to meet again, but by the time I returned to Jamaica he had died. A: Under the name Pat Francis. And then I form a group called Meditators. A: I was about say 16, We used to sing and practice with the guitar lots of nights before we could go to studio.
They used to have audition on Saturday where lot of artists come, then they pick the best from a lot of them. Out of a hundred they might pick 20, or 10 from that. At the same session I do two for Upsetter label. Q: Back up for a minute. A: Yes. And I find that my voice could able to deejay. A: Jah Scuff. He just do that one song. He was never interested to do more.
So I produce songs for a lot of artists like Heptones, Mighty Diamonds. Reviewing the remastered Dire Straits albums inRob The Brothers Johnson* - Out Of Control (Cassette of Q awarded Brothers in Arms five stars out of five and wrote that "repeated listening reveals it as a singularly melancholic collection — see the guitar slashing of 'The Man's Too Strong' and the title track, where joy is as sharp as sorrow".
According to Erlewine, Dire Straits had "never been so concise or pop-oriented, and it wore well on them". Erlewine concluded that the album remains "one of their most focused and accomplished albums, and in its succinct pop sense, it's distinctive within their catalog".
Inwhen Brothers in Arms was among ten albums nominated for the best British album of the past 30 years by the Brit Awardsmusic broadcaster and author Paul Gambaccini described the list of nominees as "risible" but added, " Brothers in Arms runs away with it for the quality of songwriting and musicianship. In November the results of a national poll conducted by the public of Australia revealed their top favourite albums.
Brothers in Arms came in at number 64 see " My Favourite Album ". Brothers in Arms is ranked number three in the best albums of and number 31 in the best albums of the s. British music journalist Robert Sandall wrote:.
Up till the summer of success had, for them, come as a by-product of the music making process. They had never courted celebrity, chased fads, or played safe. Dire Straits had been loved and respected as one of the few bands to have maintained strong and credible links with the multifarious roots of rock and roll at a time—remember all the desperate pop posing of the early 80s?
All songs were written by Mark Knopfler, except where indicated. The CD and cassette versions feature extended versions of four songs.
Because of this, the Side Two of the cassette version has about 10 minutes of blank tape. The Double LP edition uses extended versions of four songs originally featured on CD and cassette editions.
Credits adapted from album liner notes. From Wikipedia, the free encyclopedia. Redirected from Brothers in Arms Dire Straits album. For other albums, see Brothers in Arms disambiguation. Dire Straits. Dire Straits Mark Knopfler — guitars and vocals John Illsley — bass guitar and vocals Alan Clark — keyboards Guy Fletcher — keyboards and vocals Omar Hakim — drums Terry Williams — drums Additional musicians Nature of contributions uncredited on album; contributions added where known.
Retrieved 2 April Official Charts Company. Retrieved Album) August BBC News. Retrieved 2 December Retrieved 26 October Warner Bros. Sound on Sound. Retrieved 17 May Daily Review. Retrieved 28 October BBC News Online. Retrieved 1 April But the channel's continental incarnation- MTV Europe Ultimate Classic Rock. Retrieved 30 November Rolling Stone. Retrieved 18 November Retrieved 8 December Archived from the original on 10 June Retrieved 14 June Vertigo Retrieved 2 August Retrieved 23 September Record Mirror.
Retrieved 29 January Melody Maker. August BBC Music. Archived from the original on 4 July Retrieved 11 February The Independent. Retrieved 13 November Grammy Awards.
Retrieved 30 January Brit Awards. Archived from the original on 27 December Retrieved 26 December Retrieved 9 September Retrieved 9 November ISBN Music Week. Intent Media. Retrieved 11 August Retrieved on 9 April Juno Awards. Hung Medien. Retrieved 14 August Australian Chart Book — Australian Chart Books.
Retrieved 26 March GfK Entertainment Charts. From Wikipedia, the free encyclopedia. Redirected from Righteous Brothers. American singing duo. For other uses, see Paramour disambiguation. Retrieved Pop Chronicles. University of North Texas Libraries.
Las Vegas Sun. Archived from the original on November 22, Retrieved November 22, Rolling Stone. Da Capo Press. ISBN The History Press. October 20, Globe Pequot Press. Archived from the original on May 1, Rhythm and Blues, Rap, and Hip-hop.
Facts on File. Encyclopedia of Pop Music Aliases, — Scarecrow Press. The Park Record. Bloomsbury Publishing.
Cooper Square Press. Omnibus Press. Rockcellar Magazine. Archived from the original on June 8, Retrieved 8 September Archived from the original on Huffington Post. February 24, Thrifty Vinyl. Something Else. Archived from the original on 16 June Recording Industry Association of America. Unchained Melody". Official Charts Company. Songwriters Hall of Fame. The Pop History of Dig.
November 6, The New York Times. Retrieved September 18, ABC News Radio.
Letter On The Window - The Divorcees (2) - Last Of The Free Men (CD, Album), Summertime Blues - Blue Cheer - Hello Tokyo, Bye Bye Osaka (Live In Japan 1999) (CD, Album), Chicago - Judy Garland - The Hits Of Judy Garland (Vinyl, LP), Clair De Lune, Cobra - Steel Assassin - From The Vaults (CD, Album), Do What Ya Wanna Do - Various - Keep On Dancin (Vinyl, LP), No Caminho De Cuba - Elba Ramalho - Fogo Na Mistura (CD, Album), Coming Up - Paul McCartney - McCartney II (Vinyl, LP, Album), Schön Rosmarin - Mantovani And His Orchestra - Concert Encores (Vinyl, LP), Amazonas Djungel - Cruel Maniax - We Dont Need.... (Cassette)