"Itnever Snows in California"

Total Page:16

File Type:pdf, Size:1020Kb

0 411a Phil Spector (right) with singer Darlene Love and arranger Jack Nitzsche recording A Christmas Gift To You at LA's Gold Star Studios in 1963 -ALBUMS - REVIEW "Itnever snows in California" MM DEC 2 Phil Spector talks mono, The Beatles and the troubled history of his White Christmas' stuff. I mean, everyyearthey have to revive Irving Berlin and tell him, 'It's Christmas Album. "It came out the day President Kennedy was assassinated..." Christmas -time again, Irving.' He must be 180 years old by now." THE LONG LEFT arm of Muhammad Spector's nowwaiting excitedlyfor a call from Spector took silly songs like "FrostyThe Ali snakes out, his fist beating a tattoo Ali himself. "He's my friend," says Spector.Ali Snowman", "I Saw MommyKissing Santa of wicked jabs on Bob Foster's tired, and Phil -both winners, both stripped of their Claus", "Rudolph The Red -Nosed Reindeer", puffy cheek. Five thousand miles away, Phil titles through jealousy and resentment for the "The Bells Of St Mary's" and "Parade Of The Spector sits, cross-legged and straight- way theybucked the system and held up a Wooden Soldiers" and transformed them into backed, his nose two feet away from the finger to the establishment. pop epics through the use of all the sound colour TV screen. "Scored!" he screams. Phil Spector revealed himself, briefly and components which had built his chart hits with "Scored! Scored again! Scored again!" unexpectedly, to the British media last week. the individual groups. He's never believed in SuddenlyAli goes into retreat, teasing Foster The reason was the release, this week or next, of spoiling the ship fora ha'porth of tar, and every to follow him on rubbery legs around the ring. his famous ChristmasAlbum. The album, effort was expanded to make this production His strength ebbing alongwith his confidence. originally recorded and half-heartedly as grand and perfect as his singles like "Then Foster tries one last time to connect with his released in 1963, was first He Kissed Me" and "Be opponent's jeering mouth. Somehow, he lands titledA Christmas Gift For My Baby". Leon Russell, a solid left -and -right combination. You and featured The "It went on for Glen Campbell, Sonny "Missed! Missed again... Look atAli, he's Ronettes, Darlene Love, The Bono, HerbAlpert, Nino carrying Foster! He can take Foster anytime he Crystals, and Bob B Soxx & months. I never Tempo, Hal Blaine and Jack wants! He's knocked him down six times, and The Blue Jeans, with a Nitzsche sat in LosAngeles' all theycan talk about is him getting cut! memorable Yuletide wanted to see him Gold Star Studios for weeks, "He's the champ, there's no one better. Get benediction spoken by the adding bits until the jigsaw him, Ali... scored again! Scored again!" grand master of record again after that" was complete. EventuallyFoster's legs betrayhis courage, production himself. The record was pressed, and he tumbles to the canvas for the eighth and It took between six and nine months to the jackets printed, and thousands of copies last time. Spector bounds to his feet, complete and cost in excess of $35,000. The were stacked in warehouses, waiting for release applauding with a fierce intensity. The TV amount of care put into the arrangements and in Novemberof 1963. "It came out the same day broadcast is a recording, and Spector saw the percussion overdubbingwas extraordinary. "It that President Kennedywas assassinated," fight "live" the previous night at a London went on for months," recalls his engineer, Larry Spectorremembers. "Naturally, that depressed cinema, by satellite from Lake Tahoe, Nevada. Levine, with a shudder. "I never wanted to see the whole country. Certainly no one was "That cut's onlysuperficial," he says, still him again after that. Day and night for months." buying Christmas records -everybodywas in staring at the screen. "Bundini told me it wasn't All the tracks were made like singles," says mourning, which was only right. Not onlywas it nothing important." Spector. "I did everything that Irving Berlin and the worst Christmas of all time, it was also the Bundini Brown, Ali's trainer, had telephoned Bing Crosbywouldn't want, because I was hottest Christmas in American history. It never Spector in London only hours after the fight. getting a bit bored with all the I'm dreaming ofa snows in California anyway." 138 I HISTORY OF ROCK 1972.
Recommended publications
  • Grabación, Producción Y Finalización De Un Producto Discográfico En Dolby 5.1 Conteniendo Dos Géneros Disímiles
    GRABACIÓN, PRODUCCIÓN Y FINALIZACIÓN DE UN PRODUCTO DISCOGRÁFICO EN DOLBY 5.1 CONTENIENDO DOS GÉNEROS DISÍMILES CARLOS MARIO BENÍTEZ HOYOS ANDRÉS FELIPE RAMOS LÓPEZ PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES CARRERA DE ESTUDIOS MUSICALES BOGOTÁ 2009 GRABACIÓN, PRODUCCIÓN Y FINALIZACIÓN DE UN PRODUCTO DISCOGRÁFICO EN DOLBY 5.1 CONTENIENDO DOS GÉNEROS DISÍMILES CARLOS MARIO BENÍTEZ HOYOS ANDRÉS FELIPE RAMOS LÓPEZ Proyecto de grado presentado para optar el título de MAESTRO EN MÚSICA CON ÉNFASIS EN INGENIERÍA DE SONIDO Director RICARDO ESCALLÓN GAVIRIA Ingeniero de Sonido PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES CARRERA DE ESTUDIOS MUSICALES BOGOTÁ 2009 4 CONTENIDO INTRODUCCIÓN JUSTIFICACIÓN OBJETIVOS 1. SUSTENTO DEL MATERIAL ARTÍSTICO DESDE EL CONCEPTO WALL OF SOUND ...............................................................p.13 2. LAS DIVERSAS FORMAS DE CREACIÓN DE WALL OF SOUND……..p.17 3. ARTISTAS Y ESTILOS DEL SIGLO XX INVOLUCRADOS………………p.23 4. BREVE HISTORIA DEL SONIDO ENVOLVENTE (SURROUND 5.1)…………………………………………..p.35 5. CONCEPTOS DE INGENIERÍA APLICADOS A GRABACIÓN Y MEZCLA SURROUND………………………………………………………..p.38 6. ANÁLISIS DE DISCOGRAFÍAS……………………………………………..p.48 7. BITÁCORA DE GRABACIÓN Y PRODUCCIÓN…………………………..p.68 8. PROCESO DE EDICIÓN DEL REPERTORIO CLÁSICO……………… p.106 9. DESCRIPCIÓN GENERAL DE LOS PROCESOS DE MEZCLA……….p.112 10. CONCLUSIONES…………………………………………………………….p.124 11. BIBLIOGRAFÍA……………………………………………………………….p.128 5 INTRODUCCIÓN Las convenciones de la industria musical, en donde los arreglos, la instrumentación y el diseño general de una pieza, se producen en serie bajo un esquema determinado por el objetivo único de alcanzar afinidad en un mercado o grupo especifico, con fines claramente comerciales, han mostrado formas preconcebidas de cómo elaborar un material discográfico en todas sus etapas.
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here.
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • Leon Russell – Primary Wave Music
    ARTIST:TITLE:ALBUM:LABEL:CREDIT:YEAR:LeonThisCarneyTheW,P1972TightOutCarpentersAA&MWNow1973IfStopP1974LadyWill1975 SongI Were InRightO' Masquerade &AllBlueRussellRope The Thenfor Thata Stuff CarpenterYouWoodsWisp Jazz LEON RUSSELL facebook.com/LeonRussellMusic twitter.com/LeonRussell Imageyoutube.com/channel/UCb3- not found or type unknown mdatSwcnVkRAr3w9VBA leonrussell.com en.wikipedia.org/wiki/Leon_Russell open.spotify.com/artist/6r1Xmz7YUD4z0VRUoGm8XN The ultimate rock & roll session man, Leon Russell’s long and storied career included collaborations with a virtual who’s who of music icons spanning from Jerry Lee Lewis to Phil Spector to the Rolling Stones. A similar eclecticism and scope also surfaced in his solo work, which couched his charmingly gravelly voice in a rustic yet rich swamp pop fusion of country, blues, and gospel. Born Claude Russell Bridges on April 2, 1942, in Lawton, Oklahoma, he began studying classical piano at age three, a decade later adopting the trumpet and forming his first band. At 14, Russell lied about his age to land a gig at a Tulsa nightclub, playing behind Ronnie Hawkins & the Hawks before touring in support of Jerry Lee Lewis. Two years later, he settled in Los Angeles, studying guitar under the legendary James Burton and appearing on sessions with Dorsey Burnette and Glen Campbell. As a member of Spector’s renowned studio group, Russell played on many of the finest pop singles of the ’60s, also arranging classics like Ike & Tina Turner’s monumental “River Deep, Mountain High”; other hits bearing his input include the Byrds’ “Mr. Tambourine Man,” Gary Lewis & the Playboys’ “This Diamond Ring,” and Herb Alpert’s “A Taste of Honey.” In 1967, Russell built his own recording studio, teaming with guitarist Marc Benno to record the acclaimed Look Inside the Asylum Choir LP.
    [Show full text]
  • The Wrecking Crew—Whether You Knew It Or Not
    HISTORY JUNE 2012 Kent Hartman “You are in for a big surprise!” —Dusty street The Inside StoryWrecking of Rock and Roll’s Best-Kept Crew Secret Part Hit Men and part Laurel Canyon, this hidden history of rock and roll chronicles the uncredited studio musi- cians who provided the soundtrack for a generation dur- ing the 1960s and 1970s. If you were a fan of popular music in the 1960s and early ’70s, you were a fan of the Wrecking Crew—whether you knew it or not. On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves as the driving sound of pop music—sometimes over the objection of actual band members forced to make way for Wrecking Crew members. Industry insider Kent Hartman tells the dramatic, definitive story of the musicians who forged a reputation throughout the business as the secret weapons behind the top recording stars. Mining invaluable interviews, the author follows the Read by Dan John Miller careers of such session masters as drummer Hal Blaine Category: History/Music and keyboardist Larry Knechtel, as well as trailblazing Running Time: 10 hrs 30 min - Unabridged bassist Carol Kaye. Listeners will discover the Wrecking Hardcover: 02/14/2012 (35,000 Thomas Dunne Books) Territory: US and Canada Crew members who would forge careers in their own right, On Sale Date: 06/18/2012 including Glen Campbell and Leon Russell, and learn of Trade 9781452608068 9 Audio CDs $39.99 the relationship between the Crew and such legends as Phil Library 9781452638065 9 Audio CDs $83.99 Spector and Jimmy Webb.
    [Show full text]
  • LSUG July 29Th 2012
    Next Sunday Special Guest Monkee Micky Dolenz! PLAYLIST JULY 29th, 2012 HOUR 1 George Harrison – Bangla Desh George wrote the song in “ten minutes,” for his friend, Ravi Shankar’s war-torn homeland. While in LA working on the soundtrack for the Raga film, Ravi informed George of the atrocities occurring in his native India. Leon Russell, who played keyboards on the session, contributed the idea for the “story” introduction to the song. The song included George, Eric Clapton, Ringo, Bobby Keys, Billy Preston and Leon Russell. Although the lineup is disputed by Jim Horn, who recalls that himself, George, Leon Russell, Klaus Voorman and Jim Keltner were present. voice break The Beatles - I Should Have Known Better - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John Following their triumphant visit to America The Beatles were thrust back to work. On February 25, 1964 they dove into new songs slated for their film. On this day they recorded “You Can’t Do That” and began work on Paul’s “And I Love Her” and John’s “I Should Have Known Better.” In the film “I Should Have Known Better” was performed in the train compartment scene, which in reality was the interior of a van with crew members rocking the van to fake the train in motion. Used as the flip side of the U.S. “A Hard Day’s Night” single. Paul’s “Things We Said Today” was the UK b-side. Recorded Feb. 25-26, 1964. On U.S. album: A Hard Day’s Night - United Artists LP Hey Jude - Apple LP (1970) The Beatles - I’m Happy Just To Dance With You - A Hard Day’s Night (Lennon-McCartney) Lead vocal: George Written by John and Paul specifically to give George a song in the movie “A Hard Day’s Night.” Completed in four takes on March 1, 1964, with filming slated to begin the next day.
    [Show full text]
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)
    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
    [Show full text]
  • 47955 the Musician's Lifeline INT01-192 PRINT REV INT03 08.06.19.Indd
    181 Our Contributors Carl Allen: jazz drummer, educator Brian Andres: drummer, educator David Arnay: jazz pianist, composer, educator at University of Southern California Kenny Aronoff: live and studio rock drummer, author Rosa Avila: drummer Jim Babor: percussionist, Los Angeles Philharmonic, educator at University of Southern California Jennifer Barnes: vocalist, arranger, educator at University of North Texas Bob Barry: (jazz) photographer John Beasley: jazz pianist, studio musician, composer, music director John Beck: percussionist, educator (Eastman School of Music, now retired) Bob Becker: xylophone virtuoso, percussionist, composer Shelly Berg: jazz pianist, dean of Frost Music School at University of Miami Chuck Berghofer: jazz bassist, studio musician Julie Berghofer: harpist Charles Bernstein: film composer Ignacio Berroa: Cuban drummer, educator, author Charlie Bisharat: violinist, studio musician Gregg Bissonette: drummer, author, voice-over actor Hal Blaine: legendary studio drummer (Wrecking Crew fame) Bob Breithaupt: drummer, percussionist, educator at Capital University Bruce Broughton: composer, EMMY Chris Brubeck: bassist, bass trombonist, composer Gary Burton: vibes player, educator (Berklee College of Music, now retired), GRAMMY 182 THE MUSICIAN’S LIFELINE Jorge Calandrelli: composer, arranger, GRAMMY Dan Carlin: award-winning engineer, educator at University of Southern California Terri Lyne Carrington: drummer, educator at Berklee College of Music, GRAMMY Ed Carroll: trumpeter, educator at California Institute of
    [Show full text]
  • (Iowa City, Iowa), 1972-07-18
    I ' IN THE. NEWS Flood p~otos o~ page four••• Tuesday July II, 117% riefly Iowa City. Iowa 52240 SI ill one thin dime Inspection VoI_.. No. I. DES MOINES, Iowa (APl~fficials of United Air Lines said Monday they are inspec­ ting all carry-on luggage and packages of r passengers who board planes at the Des Moines Airport. The inspections don't apply to baggage • checked through the airlines ticket counter. , The Checks were begun last Friday after the r government encouraged airlines to adopt Heavy ralnS preventive measures against hijackers, Gunman RICHMOND, VA. (AP) - An armed man surrendered to police and FBI agents Monday after holding 10 persons hostage in demand for swamp city $500.000 ransom from the Bank of Chesterfield. The FBI identified the gunman as 22-year-old By MONICA BAYER Damage to the plant itself was minimal, but Everette Warner Wallace Jr. of Richmond. His and MIKE WEGNER the outage lasted for 30 to 4S minutes. hostages, held for varying lengths of time, News Editors Due to the outage, which caused the sump included nine women and the assistant cashier of pumps to shut olf, the University Library the bank, Larry Wheeler. Iowa City was deluged with more than five basement was flooded, forcing the building to be inches 01 rain Monday causing Ralston Creek to closed, according to Leslie W. Dunlap, professor flood, several streets to be blockaded, and power and dean of University Library. 11 bsentee vote outages for much of the city and university com­ Dunlap said that normally the library would munity.
    [Show full text]
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • A.J. Croce Croce Plays Croce Thursday, February 6, 2020; 7:30 Pm
    A.J. Croce Croce Plays Croce Thursday, February 6, 2020; 7:30 pm BIO Listen to A.J. Croce’s albums and it’s clear that he holds an abiding love for all kinds of music – Blues, Soul, Pop, Jazz, and Rock n’ Roll. It is readily apparent too that people love Croce’s diverse approach to music. His nine albums have all charted, and done so on an impressive array of charts: Top 40, Blues, Americana, Jazz, Independent, College, and Radio 1, to name a few. The Nashville-based singer/ songwriter also has landed 18 singles on variety of Top 20 charts. A virtuoso piano player, Croce toured with B.B. King and Ray Charles before reaching the age of 21, and, over his career, he has performed with a wide range of musicians, Photo: Joshua Black Wilkins from Willie Nelson to the Neville Brothers; Bela Fleck to Ry Cooder. A.J. has also co-written songs with such formidable A.J. Croce performs Croce Plays Croce, a special night of tunesmiths as Leon Russell, Dan Penn, Robert Earl Keen music featuring a complete set of classics by his late and multi-Grammy winner Gary Nicholson. father Jim Croce, some of his own tunes, and songs that influenced both him and his father. This special event The late, great New Orleans piano man, and Croce hero, features such timeless songs as “Operator,” “You Don’t Allen Toussaint might have described A.J. most succinctly Mess Around with Jim,” “Time in a Bottle,” (a song written for when he proclaimed: “In such a crowded music universe A.J.), “Rapid Roy," (The Stock Car Boy), and “Lovers Cross," it is a pleasure to witness triple uniqueness: pianist, to name a few.
    [Show full text]
  • Gris-Gris Dr. John Atco SD 33-234
    Gris-gris Atco SD 33-234 Dr. John personnel Dr. John (voc, keyb, perc), Harold Battiste (b, cl, perc, arr); Plas Johnson (sax); Lonnie Boulden (fl); Steve Mann (g, bjo); Richard Was- hington (perc); Bob West (b); John Boudreaux (dr); Mo "Dido" Pedido (cga); a.o. tracks Gris-Gris Gumbo Ya Ya; Danse Kalinda Ba Doom; Mama Roux; Danse Fambeaux; Croker Courtbullion; Jump Sturdy; I Walk On Guilded Splinters His grandmother is purported to have transported objects using her spiritual powers and it is said that she sometimes floated through the room. Her grandson Malcolm Rebenneck was fully aware of his unique features when he appeared under the name catalogue # of Dr. John, a voodoo healer in the 19th century, and was the first person to transcend 33234 from pitch-black spheres to psychedelic music as its high priest, so to speak. In the seven magical musical numbers of Gris-gris, the root doctor conjures up a po- set contents 1 LP / standard sleeve tent mixture of creole melodies, primeval heathen sounds, a pinch of mardi-gras and New Orleans jazz and even undreamt-of sounds. Gumbo Ya Ya, a dragging procession pricecode with archaic sing-song, shows that suggestive Afro sounds are what rule in this album. SC01 And to play with them, to soften them here and there, or to enhance them with dance- release date like expression and voices from afar (Danse Fambeaux) is all part of the programme in September 2018 this collection of artistic treasures. In between raspy sounds there are flattering, inti- barcode mate tones such as the springy, gentle and forward-looking Croker Courtbullion.
    [Show full text]