After the Velvet Underground cut three albums for Verve Records that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead make an album "loaded with hits." …
Forty-fifth anniversary box set release from The Velvet Underground & Nico featuring the latest remastering. Set consists of 6 discs includes 29 unreleased tracks in a 92-page hardcover book packaging with a sticker of banana. Japanese edition features the high-fidelity SHM-CD format (compatible with standard CD player). The set includes both stereo and mono versions of the album "The Velvet Underground & Nico" (Disc 1-2), as well as Nico's 1967 solo debut CD "Chelsea Girl" (Disc 3), a studio session at Scepter Studio recorded to acetate, and unreleased recording footage from rehearsal at Andy Warhol's Factory in January 1966 (Disc 4), and a live show from Columbus, Ohio (Disc 5-6).
I think we’ve said it before, but we have no hesitation in saying it again – Pleasure are one of the finest bands to come out of the world of mid-70s R&B. As such it is an honour for us to be working our way through their catalogue as part of BGP’s Funk & Jazz Classics Series. This time our journey has reached the group’s fourth album for the Fantasy label, “Get To The Feeling”. This should have been the LP where they crossed-over and made them famous with similar chart success to that of their fellow jazz-influenced funk outfits such as the Blackbyrds and perhaps even more relevantly, Earth Wind & Fire.
“Dust Yourself Off” is a high-class debut from an act who had not yet quite found the way to shape and mould their influences into their own sound. It was a great starting point and the first of six albums for Fantasy that allowed them to hone a very distinctive style, that made them one of the most popular soul/funk groups of their era.
One of the top guitarists of his generation, Bobby Broom's preferred setting is a small group, while he excels in the demanding trio setting with bassist Dennis Carroll and drummer Kobie Watkins (with Makaya McCraven replacing him on three songs). Upper West Side Story includes nine originals, none of which is likely to become a jazz standard, but all of which are stimulating. "D's Blues" has an engaging hard bop hook that pulls the listener in immediately, while "Upper West Side Story" suggests a walk in Manhattan on a breezy spring day, with an infectious Latin undercurrent.
The second “Bluesin’” volume in the “By The Bayou” series concentrates on musicians from South Louisiana and South East Texas discovered and recorded by J.D. Miller and Eddie Shuler. These two giants of the post-war recording scene were supreme talent-spotters. They knew the sounds that appealed to the local record-buying public, their target audience. What they couldn’t have known, or even guessed at in their wildest fantasies, was that the appeal of their recordings would last so long and encompass the globe.
ndian percussionist Trilok Gurtu, the son of vocalist Shobha Gurtu, who had played with Don Cherry (1976), with Oregon (1984) and with John McLaughlin (1989), perfected a technique that draws equally from Indian tabla and dhol drums, from jazz music (cymbals, hi-hats) and from other ethnic cultures (gongs, congas, cowbells, snares). He even dipped resonating instruments in buckets of water to produce sounds that he could not produce with traditional instruments. He began his mission with the intense mixture of Indian music, jazz-rock and world-music of the CD Usfret (1988), featuring the likes of trumpeter Don Cherry, guitarist Ralph Towner, Indian violinist Lakshminarayana Shankar, Swedish bassist Jonas Hellborg, French keyboardist Daniel Goyone and his own mother, vocalist Shobha.