Jorma Kaukonen - Genesis

 #Jorma Kaukonen #ex-Jefferson Airplane #ex-Hot Tuna #folk rock #blues rock #acoustic blues #singer-songwriter #1970s

Genesis, the opening song on Jefferson Airplane guitarist Jorma Kaukonen’s first solo album from 1974, has always been a favorite of mine. It details his plea toward a new beginning that was needed in his relationship with his wife, due to some typical thoughtless indulgence that frequents the lives of traveling musicians. In the liner notes of the re-release we read the following:
Although a wistful romantic ode on its surface. what many apparently don’t realize is that the song is a confessional. Says Jorma, “It’s about a guy who cheated on his wife and got caught. I was living the rock and roll life and one thing led to another and I was forced to fess up. The good news is I got a good song out of it. The bad news is I don’t even remember who it was that caused the song to be written. “At the time,” he continues, “my wife Margareta and I realized we were really miserable and we were trying to be happier together. I was writing a lot of true love songs—true love almost always gone wrong but saved at the last moment. Some people have suggested that wouldn’t it be nice if you could write songs like ‘Genesis’ all the time, and I always say, “Yeah, it would be, but it would be great not to have to be in the place I was when I wrote it.’ Many of the best songs get written in a state of abject misery. I prefer to write fewer songs and have less cataclysmic events in my life.”
Thus, “Genesis” is one of those songs that is ultimately both sad yet beautiful. Sad in it’s potentially cataclysmic origination yet beautiful in its expression of a new beginning. The “flying angel” cover art used for the album called “Quah” was created by his wife. Jorma dedicated the re-issue of the album to the memory of Margareta.  From: https://manifestpropensity.wordpress.com/2014/01/25/genesis-by-jorma-kaukonen-a-song-born-from-the-cataclysmic/

Jorma Kaukonen's 50 plus year career began in his hometown of Washington DC when he and friend Jack Casady formed their first band, the Triumphs. Later, attending Antioch college, Kaukonen learned the fingerpicking style of guitar playing and got his introduction to the music of the Reverend Gary Davis which became an integral part of his performances. Moving on to northern California, Kaukonen enrolled at Santa Clara University where he played in coffee houses and accompanied Janis Joplin on some acoustic demos. From there Kaukonen helped form Jefferson Airplane, followed by Hot Tuna and when that band broke up, he continued a solo career he began when Hot Tuna was still active. Jorma Kaukonen has continued his solo career and work with Hot Tuna over the decades. His career has also been marked by numerous collaborations, from working with Jaco Pastorius to collaborating with former members of the Grateful Dead.  From: https://wnrn.org/decade-of-difference-jorma-kaukonen-2/

Mellow Candle - The Poet And The Witch

 #Mellow Candle #folk rock #progressive folk #acid folk #Celtic folk #1970s #Irish

Although they are anything but a household name today, in their time, Irish folk-rock band Mellow Candle were frequently mentioned in the same breath as more enduring names from the Emerald Isle's late-'60s generation of rock bands, such as Steeleye Span, The Chieftains, Thin Lizzy, Horslips, et al. The origins of Mellow Candle can be traced back to 1963, when precocious young ladies Clodagh Simonds, Alison Bools, and Maria White formed a vocal trio named the Gatecrashers while enrolled at Dublin's Holy Child Convent. After several years of impromptu performances, covering hits of the period inside the school walls, 14-year-olds Simonds and Bools (White had already left) sent a demo to Radio Luxembourg DJ Colin Nichol, who in turn brought it to respected producer Simon Napier-Bell, then manager for the likes of The Yardbirds and John’s Children, among others. Napier-Bell was duly impressed and soon arranged for a recording session from which emerged the 1968 single "Feeling High" b/w "Tea with the Sun," released through his own short-lived SNB label imprint and credited to the already renamed Mellow Candle.
The single's poorly rendered approximation of psychedelic girl group sounds failed to chart, however, and Simonds' parents strategically intervened by shipping her off to school in Italy, while Bools began attending art college back in Ireland and singing with local covers group Blue Tint. This paired her with guitarist and future husband David Williams, so that, with the addition of bassist Pat Morris and Simonds' return from Italy, Mellow Candle were relaunched in 1970, making their debut performance in support of The Chieftans. Numerous concerts and festival appearances alongside fellow rising Irish acts such as Horslips, Taste, and Thin Lizzy helped build the band's public profile over the next year, and Simonds even contributed harpsichord and Mellotron to Thin Lizzy’s Shades of a Blue Orphanage LP. By the time this was released, Mellow Candle were already hard at work on their own debut album for Deram Records, having replaced the unsuitably straight-laced Morris with former Creatures bassist Frank Boylan and augmented their formation with a drummer for the first time in ex-Kevin Ayers man William Murray. That debut album, Swaddling Songs, was produced by David Hitchcock (Genesis, Caravan, etc.) and released in April 1972 -- a month that also saw Mellow Candle supporting Steeleye Span at Dublin's National Stadium.
But this reputable concert booking unfortunately did not reflect the public reaction to Swaddling Songs, which, for reasons unknown, was generally either ignored or dismissed by critics of the time (the NME famously calling it a "tax loss"), only to subsequently transform into a paradigm of overlooked British folk-rock in the decades that followed. In fact, come the 1990s, its magical musical amalgam of Celtic folk, progressive, goth, psych, and rock, topped with Simonds and Williams' otherworldly vocals (honed to telepathic interaction over years of partnership), was being hailed as a lost masterpiece, and exchanging collectors' hands for hundreds of dollars until long overdue CD reissues began covering some of the demand. All too late to save Mellow Candle, of course, which had initially weathered Swaddling Songs' commercial failure with tours alongside Genesis and Curved Air, then briefly changed their name to Grace Before Space, but ultimately crumbled altogether and went their separate ways toward the end of 1973.  From: https://open.spotify.com/artist/4wbGwhI4lo3t4mpQt727o4

 

 

The Who - Rael

 #The Who #Pete Townshend #Roger Daltrey #hard rock #heavy blues rock #psychedelic rock #art pop #classic rock #1960s #1970s

Rael was Pete Townshend’s first rock opera. A lot of the themes in it were apparently recycled into Tommy and Lifehouse based on musical evidence. The story was set in 1999, where China was the world power. They were conquering lands and destroying the religious cultures in their conquest. China was overthrowing Israel and an Israeli hero travels back to his homeland on a mission against all odds to save his people. There isn't much more information than that as Pete hasn't release many notes or demos from the opera.
According to the book “Who Are You: The life of Pete Townshend” it was intended to be done with a full orchestra written as a genuine opera starring Arthur Brown in the lead. There were to be 20 scenes. We have a prelude song that's easily found on the internet called Motherland Feeling. Rael part 1 has the scene of him leaving on the boat, a storm scene (which is the sparks part) and the scene of him arriving. We also know there was an organ Fugue which may be the organ part of the demo. There is also a lyric floating around for a song called Party Piece from Rael where we learn that the hero’s wife had died years earlier and was buried in the homeland.
Following a visit to Caesarea, Israel in 1966 with his first wife, Karen Astley, and the subsequent outbreak of the Six-Day War, Townshend began work on Rael, a song cycle loosely based on Israel’s struggle to survive despite being massively outnumbered by its enemies. Rael — short for Israel — got sidetracked, partly due to the demands of the Who’s record company for faster delivery of more hit singles, and Rael was consigned to the shelf. The only song that has surfaced from that project is called Rael and appears on the late 1967 album, The Who Sell Out.
In recent years, Townshend’s thoughts have once again turned back toward the concerns he expressed in Rael. As he told an interviewer for Rolling Stone in 2006: Last week, I was reading about this book that’s just come out. It’s about the Polish Jews who got out of concentration camps and went back to their homes, which had been taken over by Christians who assumed the Jews weren’t coming back. What happened was another wave of anti-Semitism in which dozens were slaughtered by Christians in Warsaw. The premise for it was that there was witchcraft going on. The Jews, of course, drank the blood of children. Been there, done that. Fucking hell. And I asked myself, ‘Why am I so heated up about this fucking story?’ But it’s because, as a kid, my best friend, Mick Leiber, was a Jew. We grew up in a community that was about a third Polish. We lived in a house that divided in two, and in the top part lived a Jewish family who were quite devout. Polish Jews were the kids I played with. They were my people. I remember saying to my mother, ‘Aren’t Polish people from Poland?’ And she said, ‘Yes, they were Britain’s first ally in the war.’ I’d say, ‘But they’re not like foreigners. They’re just like we are.’ And she said, “Yes, they’re just like we are.”
From: https://www.reddit.com/r/TheWho/comments/slb4mo/can_somebody_explain_rael/ 

Led Zeppelin - Poor Tom

 #Led Zeppelin #Jimmy Page #Robert Plant #hard rock #blues rock #folk rock #heavy metal #folk metal #heavy blues rock #1970s #music video

Led Zeppelin’s Poor Tom was composed in 1970 by vocalist Robert Plant and guitarist Jimmy Page when they were staying at Bron-Yr-Aur, a small cottage in Wales, and was recorded at Olympic Studios on 6 May 1970. The song was left off the album Led Zeppelin III but was eventually included on the band's album Coda, released in 1982 two years after the death of drummer John Bonham, having been produced by Page at his newly-acquired Sol Studios. Although the lyrics can be difficult to decipher, the song appears to be about a hard working labourer on the Mississippi River named Tom who does away with his unfaithful wife Ellie May. Tom may also be psychic, as the lines 'Poor Tom, seventh son/Always knew what was goin' on' can be interpreted as a reference to the folk belief that seventh sons of seventh sons were clairvoyant. The title may have come from Charles Kingsley's The Water Babies. In the story, a poor chimneysweep called Tom falls into a bedroom owned by Miss Ellie, who is dying. Tom is accused of being a thief and subsequently drowns in a river after being pursued. This song seems to be a variation on the theme of Robert Wilkins' That's No Way To Get Along, recorded in 1929, which was covered by The Rolling Stones for their 1968 Beggar's Banquet album, under the title Prodigal Son. The music for Zep's Poor Tom also bears resemblance to a track recorded in the 1960's called She Likes It, by Owen Hand, who was allegedly a friend of Bert Jansch's.  From: https://en.citizendium.org/wiki/Poor_Tom

Here's a tale of Tom
Who worked the railroads long
His wife would cook his meal
As he would change the wheel

Poor Tom, seventh son,
Always knew what's goin' on
Ain't a thing that you can hide from Tom
There ain't nothing that you can hide from Tom

Worked for thirty years
Sharing hopes and fears
Dreamin' of the day
He could turn and say

Poor Tom, work's done,
Been lazin' out in the noonday sun
Ain't a thing that you can hide from Tom
Ain't a thing that you can hide from Tom

His wife was Annie Mae
With any man a game she'd play
When Tom was out of town
She couldn't keep her dress down

Poor Tom, seventh son,
Always knew what's goin' on
Ain't a thing that you can hide from Tom
Ain't a thing that you can hide from Tom

And so it was one day
People got to Annie Mae
Tom stood, a gun in his hand
And stopped her runnin' around

Poor Tom, seventh son,
Gotta die for what you've done
All those years of work are thrown away
To ease your mind is that all you can say?
But what about that grandson on your knee?
Them railroad songs, Tom would sing to me

Renaissance - A Song For All Seasons

 #Renaissance #Annie Haslam #progressive rock #British progressive rock #symphonic prog #classical #orchestral #1970s

The 1978 Renaissance album ‘A Song for All Seasons’ is the ideal entry point for showcasing the individual talents and collective chemistry of the band. Underpinning the whole piece is the glorious, soaring, five-octave ranged voice of protean singer and artist, Annie Haslam. In a decade replete with stunning female vocalists, Haslam can stand shoulder-to-shoulder with anyone, using her voice with the precision of a surgeon using a scalpel, yet maintaining the searing beauty in her delivery.
Haslam’s vocal talent notwithstanding, Renaissance are an accomplished collective of musicians. A Song for all Seasons boasts the considerable keyboard talents of John Tout. A classical pianist by inclination, his distinctive, layered style provides a crucial backdrop over which Haslam’s precision vocals can truly be enjoyed. With John Camp and Michael Dunford providing an intricate and layered guitar sound, and Terry Sullivan on drums, this album sees the recognized classic line up for Renaissance (if such a thing truly exists in a band with such a fluid membership).
The album itself is, therefore, an accumulation of collaborations, with the band calling on the production talents of erstwhile Genesis producer, David Hentschel and orchestral arrangements arranged by the Royal Philharmonic Orchestra’s Harry Rabinowitz. All of these diverse musical elements are encapsulated in the spectacular opening track ‘Opening Out’, a piece which actually prefaces the direction of the album. Tout’s classical piano is eschewed in favour of intricate synthesisers, there is considerable orchestration and, of course, Haslam’s vocal prowess.
The rest of the album is a concoction of musical styles. ‘Day of the Dreamer’ and ‘Kindness (at the end)’ are clearly heavily rooted in progressive rock and would not have been out of place on an album released 5 years earlier. Despite this fused style the album manages to maintain an internal coherence. The acoustic-folk of ‘Closer than Yesterday’ sits comfortably alongside accessible tunes such as ‘Back Home Once Again’. The eponymous ‘A Song for All Seasons’ nicely rounds the original album off and provides a welcome reprise of their genuine prog credentials.  From: https://wearecult.rocks/renaissance-a-song-for-all-seasons-3cd-reviewed

Richard & Linda Thompson - A Heart Needs A Home

 #Richard & Linda Thompson #folk rock #British folk rock #contemporary folk #singer-songwriter #ex-Fairport Convention #1970s #music video #The Old Grey Whistle Test

Richard Thompson left Fairport Convention after 1970’s Full House, his reputation secured as an excellent songwriter and guitarist. He released a spectacularly unsuccessful solo album, Henry the Human Fly, in 1972. He then married Linda Peters and they released six albums between 1974 and 1982; their relationship broke down before an ill-fated North American tour in 1982. The duo’s music is often melancholic, and it’s a common trick of Richard Thompson to pair upbeat music with depressing lyrics. They often play acoustic folk-rock, especially on their early albums, but 1978’s First Light uses an L.A. rhythm section and 1982’s Shoot Out The Lights has few vestiges of folk remaining. Linda and Richard share the vocal duties – while Richard’s gruff voice is limited, Linda’s pristine voice is able to capture a range of moods, from joy on ‘I Want To See The Bright Lights Tonight’ to resignation on ‘Walking on a Wire’. The pair’s first album, 1974’s I Want To See The Bright Lights Tonight and their 1982 swan song Shoot Out The Lights are generally considered as their strongest. In between they spent time in a Sufi Muslim commune, taking three years away from music. Richard has stated that he considers their late 1970s albums as weak, as he didn’t have his mind on the job.  From: https://albumreviews.blog/reviews/1970s-album-reviews/richard-and-linda-thompson/

Linda Thompson's experience with Sufism was, by her own reckoning, not such a good one. She moved to a commune in Maida Vale with Richard, then her husband, after making "Hokey Pokey," and she describes her experience there as grim and self-punishing. For awhile, Richard's mullah told him not to play the guitar, so he didn't play the guitar. Richard & Linda Thompson, British folk-rock royalty, disappeared for a few years in the mid-'70s. Before they did, they sent this epistle. "A Heart Needs A Home" pointed straight toward the "Pour Down Like Silver" LP, Thompson's most explicit bout of Sufi songwriting. "Home" caps "Hokey Pokey," a collection of songs that describe the world as a cold, forbidding, sin-soaked place. Richard Thompson turns to Allah in emptiness, and finds fulfillment there. Odd, then, that he didn't sing it. He gave the song to Linda. Perhaps he identified with her so strongly back then that he felt no separation between his perspective and hers. Or maybe he was trying to convince her of something. Since leaving the commune (and the marriage), she's occasionally suggested that her heart was never really in it; that she followed Richard to Maida Vale because she loved him, and she wore the headscarf because that's what was expected of her. Do we believe her? She certainly does not look uncomfortable singing "A Heart Needs A Home." On the contrary: Linda Thompson is completely possessed, her eyes on the great beyond. Maybe she's singing about Richard, maybe she's singing about Allah. Maybe it doesn't matter. The Sufis have a concept called wahdat-al-wujud: God is the only reality, and all that we perceive is a decipherable pattern emanating from Allah. Nothing exists that isn't a piece of the divine. Linda might have got it better than the mullah did. She might have got it better than Richard did.  From: https://www.nj.com/entertainment/music/2010/08/song_of_the_day_a_heart_needs.html

Saddhu Brand - Whole Earth Rhythm

 #Saddhu Brand #psychedelic folk rock #acid folk #world music #Indian classical #1970s 

This is what happens when you get four hippies back in San Francisco after a four year layover in India. Sounding strangely burnt out yet happy, the songsters of Saddhu Brand stick exclusively to traditional Indian instruments and vocals. The vocals come in two varieties: the strangely unemotional sounding female chorale vocals and the voice of one addled guru sort of fellow by the name of Peter Van Gelder (from Great Society).
In many ways, this disc makes me think of a weird transmutation of the British freak-folk scene. There's a kind of Incredible String Band vibe here, although this band has a different set of acoustic instruments and they're nowhere near as talented as the ISB. The whole affair reeks of patchouli (or let's say Nag Champa, I hate patchouli), but what we have here is for the most part a typical San Fran band thrown through a Hindu blender. "People Brittle" would easily translate to a later period Jefferson Airplane song with electric Western instruments, and "I Give You Johnee The Truth" is only one step removed from sounding like West Coast "cowboy" music like New Riders Of The Purple Sage. Just get a different singer and ditch the flute and sitar. Of course the charm of this albums is that it does have the aforementioned flute and sitar.
On the longer tracks "Babu Shoda" and "Dabi Das' Song" the band tries their hand at more authentic Indian style compositions. It's not going to stand in my way if I'm reaching for a Ravi Shankar record, but it's enjoyable enough. While they do whip up a wild dervish sort of sound on the later track, it's far muddier and less precise than something similar that the Indian masters would concoct. Whole Earth Rhythm threatens to confirm more than one cliche concerning the late 60's. If you can stomach that and enjoy Indian instrumentation, you'll probably find something to enjoy.  From: http://psychedelicobscurities.blogspot.com/2007/09/saddhu-brand-1970-whole-earth-rhythm.html

Emerson, Lake & Palmer - The Endless Enigma

 #Emerson, Lake & Palmer #Kieth Emerson #Greg Lake #Carl Palmer #progressive rock #symphonic prog #art rock #hard rock #jazz rock #blues rock #electronic #modern classical #1970s 

The first thing you'll ever learn about Emerson, Lake & Palmer is that they were the first 'supergroup' of the progosphere. The second thing is that they made their living on hyper-fast semi-classical excursions on anything equipped with ivories, preferably connected to sci-fi modulators (courtesy of Keith Emerson), hyper-fast machine gun drumming on anything equipped with a skin (courtesy of Carl Palmer) and suspiciously mellow folk balladry about anything equipped with a vagina (courtesy of Greg Lake). Every now and then though, they got together around lengthy pieces aspiring to one-up just about any modern classical composer in existence and in the process came up with some of the finest prog epics known to man. You see, this is one band where prog initiation is all but obligatory for anyone to have a decent chance to get into them, and I don't really think that anyone with much more humble taste would have that much need for Lake's ballads alone. Not that they are bad or anything, quite the opposite, but we'll get to that in due time.
Anyhoo, they got together as a result of Keith Emerson's, freshly out of The Nice, ambition to expand the boundaries of three-piece bands in 1970. He teamed up with bass player/guitarist/singer Greg Lake, who was right in the midst of recording "In the wake of Poseidon" with King Crimson but decided ELP was a better shot, and drum ace Carl Palmer who was to be found in Atomic Rooster (which you by the way really should check out; Art metal began here) as well as being an Arthur Brown graduate. And I'm gonna take the opportunity to debunk a widespread myth here; Hendrix was not considered as a fourth member (which would have yielded the abbreviation "HELP") since Emerson was keen on preserving the trio format from the very beginning, and I've got at least one fairly recent in-depth interview with Carl Palmer in a magazine to back it up. From the very beginning they pulled out all the stops on their live performances with Emerson straddling his Hammond organ the same way that Hendrix straddled his guitar, making it scream and moan with feedback and all kinds of unholy noises, occasionally crowning it all with daggers between the keys. Trust me, you gotta see it if you haven't already! What he should be revered for though, is his classically tinged finger-flashing over the whole thing. He could pull out just about anything from his sleeve, from rag-time barroom piano to Bach fugues at the speed of light. Of course, he had already made a name for himself in The Nice, but it was in ELP that he rose to the sky really. And don't forget his toying with all those Moog synthesizers which he actually helped develop with Bob Moog himself at the time.
Obviously, Emerson was the center of attention, but do not forget that he was backed up by one of the finest rhythm sections in prog as well. Carl Palmer may not be the fastest drummer in the world, but he sure is the fastest drummer I know of that simultaneously could swing and deliver something more than just robotic noise. After all, he took his inspiration from such giants as Buddy Rich, didn't he? And then Greg Lake, a great bass player in his own rights who on occasion had to switch to guitar to fill in the gaps, and on top of that crowned the songs with one of the best voices in rock; bombastic but yet humane and delicate. Listen to what he does on tracks like "The great gates of Kiev" and compare it with "The sage" or "Living sin". Talk about versatility! And he was also responsible for the more melodic and accessible elements of ELP's output and all of their albums sport at least one stripped-down acoustic ballad courtesy of him.
So there, the scene is set. Now what? Full frontal prog that managed to write itself into the history books as one of the most bloated, self-indulgent, excessive and pretentious acts of the whole movement. That's what the critics will tell you whether they like it or not, but that's not the whole picture. They were never strangers to silly little send-ups (or the aforementioned acoustic stuff) either, to spice up the flow on their albums and those who claim that progsters took themselves much too seriously have obviously missed out on songs like "Benny the bouncer". Of course, none of the occasional detours would overshadow their main schtick which was the grandiose epics and Emerson's lengthy keyboard excesses. But that's alright with me, because they are among the greatest epics and keyboard excesses ever captured on magnetic tape. I just don't want you to forget they were much more multi-faceted than they normally get credit for.
From: https://www.musicbanter.com/album-reviews/54650-endless-enigma-emerson-lake-palmer-reviewed.html#ixzz7vud1uMYp

Betty Wright - Clean Up Woman

 #Betty Wright #R&B #soul #Southern soul #funk pop #1970s

Betty Wright was a soul and R&B singer with deep gospel roots. She influenced a generation of female singer-songwriters and the world of hip hop, who sample some of her more famous material. Born singing gospel with the family group, the Echoes of Joy, Wright began experimenting with R&B music in 1965 when she was only 11. In 1968, she released her first album, My First Time Around, at the age of 14, and scored her first national hit, "Girls Can't Do What Guys Can Do". But it was not until the end of 1971 that Wright's most successful phase of her career began to take place. The song, "Clean Up Woman", became a Top 5 pop and #2 R&B hit, and would later influence a remix of Mary J. Blige's "Real Love" single with the sample of its guitar riffs; R&B girl group trio SWV's "I'm So Into You" also featured a sample from "Clean Up Woman," as did Afrika Bambaataa's song "Zulu War Chant", and Sublime's "Get Out!" remix. In 1974, Wright scored big with the songs "Tonight is the Night" (about a real-life love affair that happened with Wright when she was a teenager) and "Where is the Love". After experiencing the Alston label’s apparent dissolution in late '79, she rebounded founding her own record label, Ms. B Records in 1985. In 1988, Wright made music history by being the first woman to have a gold record on her own label, (self written, arranged, produced, and published). With the release of Mother Wit, which featured two of her biggest hits in years, "No Pain No Gain" and "After The Pain." On both songs, Wright displays her powerful upper register capabilities and seven-octave range.  From: https://www.umusicpub.com/us/Artists/B/Betty-Wright.aspx

Jon Anderson - Solid Space

 #Jon Anderson #Yes #progressive rock #progressive folk rock #symphonic prog #1970s

“I’d been thinking about Olias Of Sunhillow for a long while before I actually wrote it,” says Anderson today, speaking from his current home in San Luis Obispo, California. “When [sleeve artist] Roger Dean started creating artwork for Yes, I saw the ship he’d drawn sailing around the planet for Fragile [in 1971], and thought it was a very interesting concept.” Anderson then spent “a period of a year” composing a story about a magician/hero who rescues his people from their dying planet in a galleon-style Noah’s Ark-cum-spaceship.
In the meantime, though, his day job meant he was still busy conquering his own planet. Yes’ imperial phase began with Fragile and continued, unbroken, until 1974’s Relayer. Each of the five albums they released during this period, including the live Yessongs, went Top 10 in Britain and Top 20 in the US, with Tales From Topographic Oceans reaching No.1 at home. These figures make sense of the commercial and musical landscape in which Jon Anderson created his brain-boggling concept album. Yes were a huge hit group, so if Yes wanted time off to each make a solo album – even the drummer – their label, Atlantic Records, indulged them.
After the Yes tour, Anderson returned to the seven-bedroom country house he shared with his first wife Jenny and their children, in the Chiltern Hills, some 25 miles from London – and stayed there. “Seer Green, Buckinghamshire, was in the country, so I didn’t have to bother with the city any more,” he says. “I was surrounded by trees, birds and bees, and started living a hermit‑like existence.” Anderson went into the garage and began creating. Roger Dean’s artwork for Fragile was one inspiration; another came from the painter and mystic Vera Stanley Alder’s books, The Finding Of The Third Eye and The Initiation Of The World. Both had been published in the 1930s, but had found a new readership among the spiritually inclined pop generation – even Elvis was a fan.
“Vera Stanley Alder talked about the connection we have with the third eye,” Anderson explains, referring to the ‘invisible’ inner eye through which some believe humans can access a higher state of consciousness. Anderson, a devotee of meditation since the early 70s, regarded the third eye as “a beacon – like a radio satellite connection – to all that is divine”. Meanwhile, in The Initiation Of The World, Alder posited the theory that there had once been four “nature tribes” on the planet. “There was Negro, Asian, Oriental and Nordic,” says Anderson. “And that’s where the four tribes in Olias Of Sunhillow came from. But my four tribes were not physical tribes, but music consciousness tribes.” Anderson’s tribes – Nagranium, Asatranius, Oractaniom and Nordranious – existed, he said, “through music, rhythms and tempos”. Their planet, Sunhillow, was on the verge of collapse after a volcanic disaster. The titular hero builds a ship, the Moorglade Mover, to transport his people to a new planet. He’s helped in his endeavours by fellow magicians Ranyart, the ship’s navigator, and Qoquac, the four tribes’ appointed spokesperson.
Anderson now describes the time he spent making Olias Of Sunhillow as “going to music school”. Yes’ studio technician and live engineer Mike Dunne worked the desk, while Anderson took care of vocals, percussion, guitar, harp, Moog, sitar, flute and a Turkish lute-style instrument known as a saz. “What I learned was that you can play instruments and it works, even if you don’t play them incredibly well,” Anderson says. “You don’t have to be that good, but you can merge a guitar with a harp or a sitar or a flute and create new sounds.”
Anderson’s greatest instrument, though, was his voice, something none of his bandmates could match. Above all, Olias Of Sunhillow is a vehicle for some extraordinary vocals and lyrics. When confronted by their singer’s abstract words, Anderson’s bandmates often wondered what astral plane he was living on. But in the garage at Seer Green, he could sing what he liked, unchallenged. So much so that Anderson even created a new language for one track, Sound Out The Galleon. The lyrics, ‘Do ga riytan, sha too Raytan, gan matta sha pa, mutto matto mutto’ have always fascinated long-time Anderson watchers – especially the permanently stoned ones. “Those words were a solo for my voice,” he explains. “I couldn’t play a solo on an instrument so I used my voice instead.”
From: https://www.loudersound.com/features/the-story-behind-jon-anderson-s-debut-solo-album-olias-of-sunhillow

Roxy Music - Love Is the Drug

 #Roxy Music #Bryan Ferry #Brian Eno #art rock #glam rock #pop rock #progressive rock #1970s

Evolving from the late-'60s art-rock movement, Roxy Music had a fascination with fashion, glamour, cinema, pop art, and the avant-garde, which separated the band from their contemporaries. Dressed in bizarre, stylish costumes, the group played a defiantly experimental variation of art rock which vacillated between avant-rock and sleek pop hooks. During the early '70s, the group was driven by the creative tension between Bryan Ferry and Brian Eno, who each pulled the band in separate directions: Ferry had a fondness for American soul and Beatlesque art-pop, while Eno was intrigued by deconstructing rock with amateurish experimentalism inspired by the Velvet Underground. This incarnation of Roxy Music may have only recorded two albums, but it inspired a legion of imitators -- not only the glam-rockers of the early '70s, but art-rockers and new wave pop groups of the late '70s. Following Eno's departure, Roxy Music continued with its arty inclinations for a few albums before gradually working in elements of disco and soul. Within a few years, the group had developed a sophisticated, seductive soul-pop that relied on Ferry's stylish crooning. By the early '80s, the group had developed into a vehicle for Ferry, so it was no surprise that he disbanded the group at the height of its commercial success in the early '80s to pursue a solo career.  From: https://www.iheart.com/artist/roxy-music-27678/

Love is the Drug: The leadoff track and single from Siren, the band’s fifth album, this song made it into the bottom reaches of the U.S. top 40, but its legend and influence were much greater. This undeniable semi-novelty hit had a jittery bass beat, a canny piece of dance manqué; the taut instrumentation and the slightly mechanical tale the narrator is telling would be a marked influence on the Talking Heads albums that would appear just two years later. There’s an alluring beginning — footsteps, a car door opening, an engine starting up — together an irresistible entrée into a rhumba’d head-snapping beat that marries art rock to disco. The track and the rest of the accompanying album are Roxy at its height. The songs here start out with a bang, a whoosh, or a sweeping fanfare. The sound is mature, wild when it has to be, but restrained in a way Roxy had never been before. The Germanic conceits that marked Country Life are replaced by pastoral passages in songs like “End of the Line.” Instead, Ferry’s most powerful suite of songs contains lush inquiries into the nature of decadence, epicureanism, hedonism, and their discontents. And “Both Ends Burning” defines the mature use of synthesizers during this time.  From: https://www.vulture.com/2019/03/roxy-music-guide-bryan-ferry-brian-eno.html

Carly Simon - That's The Way I Always Heard It Should Be

 #Carly Simon #pop rock #folk rock #singer-songwriter #1970s #music video #TV concert

Most love songs exist in the present tense: “I love you.” Occasionally, some delve into the past, reminiscing about when the lovers met or how far they’ve come in their relationship. The idea of the future in these songs tends to be hazier, defined at best by an assumption of everlasting love. (Even the seemingly noncommittal “I may not always love you” of “God Only Knows” is a red herring.) The narrator of Carly Simon’s 1971 single “That’s the Way I’ve Always Heard It Should Be,” however, is fixated on predicting the future of her relationship, and what she foretells is bleak. She and her husband-to-be may be in love now, but within that love, hate - for each other, for themselves - lurks like a dormant virus. For her, a marriage proposal isn’t a declaration of love; it’s the trigger for that virus to attack, replicating itself till they’re both stricken.
As Carly Simon’s first single and opening track on her debut album, “That’s the Way I’ve Always Heard It Should Be” (co-written with lyricist Jacob Brackman) introduced the singer as an archetypal ’70s woman, attempting to reconcile traditional relationship models with the gains of second-wave feminism. On the surface, the sentiments in the song’s chorus could have been drawn from a wedding song like “Chapel of Love,” where marriage stands for happily ever after:“you say it’s time we moved in together/ and raised a family of our own, you and me.” The minor-key verses surrounding the chorus, however, bespeak only doubt. Simon recounts her negative observations of other married couples over a fragile piano-strings arrangement: her parents ignoring each other in separate rooms; the frustration and dissatisfaction of her college friends.
Rather than marriage bringing two people together, all she can conjure is disconnection, the couples uniting only to “cling and claw and drown in love’s debris.” She also worries that marriage will mean giving up an equal relationship for the lesser position of wife (“you say we’ll soar like two birds through the clouds/ but soon you’ll cage me on your shelf”). It’s this sacrifice that she fears will breed hate, from resentment between the two partners, to self-loathing, to eventually even disgust from their future children.
Her dismal observations in the verses shift to his entreaties for marriage in the chorus, and with his more conventional perspective comes a more conventional rock arrangement. Thudding drums trample over the music-box instrumentation. The tinkling piano keys swap out for crashing chords. Simon’s voice is no longer a whisper tip-toeing around empty hallways, but something more forceful, even a little sarcastic (see the title line).
By the end of the chorus, though, the brashness fades. The instrumentation drains away, leaving Simon’s voice suspended in midair, supported by only a faint string line. Her tentative “we’ll marry” sounds less like a statement of purpose than a question, an impression furthered by the unresolved melody line. By the third and final chorus, she appears to have assented to his proposal, altering the opening of the refrain from “but you say it’s time” to “well, OK, it’s time.” Simon’s voice on the final “marry” is doubled for the only time in the song’s run. Does this imply a successful partnership between the narrator and her husband? Or is it the ghost of her future self, echoing from a lonely room?
Crucially, the words “hate” and “love” appear exactly the same number of times in the song (twice each), creating a perfect ambiguity as to which path their marriage will follow. For all the narrator’s prognostications of misery, the song suggests there’s an equal chance that the relationship will continue to flourish. She can be no more certain of her future than those lovers in songs foretelling eternal bliss.
From: https://oneweekoneband.tumblr.com/post/39585806110/carly-simon-thats-the-way-ive-always-heard-it

The Schaefer Brewing Company had been sponsoring a summer concert series in New York’s Central Park prior to 1971. In August of that year, The Beach Boys, Ike and Tina Turner, and several others hosted the Good Vibrations From Central Park show. The who’s who of the music world was in attendance. James Taylor, Carole King, Art Garfunkel, and George Harrison. Not to mention the hosts, The Beach Boys and Ike and Tina Turner. The magic was certainly alive that night. One of the most well-received acts was Carly Simon.
This was one of Carly’s first appearances on National Television as a solo artist. She had been performing with her sister Lucy as a duo named The Simon Sisters for a few years. Carly walked on stage, captivating the hundreds of attendees in the audience. Her stage presence was insanely awe-striking. She performed two songs that later became hits. “Anticipation” was performed but wouldn’t be a hit for another six months. Next, Carly sang “That’s The Way I Always Thought It Should Be.” Simon mentioned prior to singing it, “Gonna sing a song that I heard on Jone’s Beach today. Anyways, it’s kinda a weird song about marriage.” This was Simon’s first single. She received a standing ovation by whistling and applauding fans. Some of her contemporaries listened to the budding star backstage. Art Garfunkel and George Harrison chatted in the wings, and I’m sure they were just as awe-struck as the Central Park attendees. From: https://dailyrockbox.com/carly-simon-gets-standing-ovation-guess-whos-backstage-listening/

The Rattles - The Witch

 #The Rattles #hard rock #psychedelic rock #progressive rock #krautrock #German #1970s

The Rattles are a German rock band formed in Hamburg in 1960. The band is most prominently known for their 1970 psychedelic hit single "The Witch." The Rattles performed in Hamburg, Germany at the same venues as The Beatles on several occasions in 1962. In 1968 they recorded their first version of "The Witch" with vocals by Henner Hoier. Their second version of "The Witch" in 1970, this time with vocals by Edna Béjarano (post-Hoier's departure), became their only international hit.
The line-up during this period was:
Edna Béjarano - vocals
Frank Mille - guitar
Zappo Lungen - bass
Herbert Bornhold - drums

I think I mention somewhere on this page that Rattles singer Edna Bejarano’s mother was Esther Bejarano, one of the last survivors of the Women's Orchestra of Auschwitz. There was a whole movie made about this women’s orchestra and their struggles to survive at the camp (actually, a 1980 CBS TV movie in the US) It was called “Playing For Time” and it starred Vanessa Redgrave. It is a beautiful story of pain and resilience. If you can find it on YouTube you should definitely check it out! The odd coincidence is that I saw that TV movie several times as a child with my mom. I definitely remember it! If Esther had not survived the Holocaust, we would not have Edna or (this incarnation of) the band.

From: https://www.facebook.com/groups/TheRattlesEdnaBejarano/

Queen - Funny How Love Is

 #Queen #Freddie Mercury #Brian May #Roger Taylor #hard rock #glam rock #progressive rock #heavy metal #classic rock #1970s

Freddie Mercury’s attitude to writing about love changed over the years, from the optimism of “Funny How Love Is” (from their second album Queen II) to the mid-1980s, when he was writing edgy songs about love being dangerous and referring in interviews to his own love life as similar to a game of Russian roulette. “Funny How Love Is,” though, was a sunny, optimistic reflection on how love is omnipresent (“love is anywhere you’re bound to be”). It started out, in the first five takes, as a piano-led acoustic song, and evolved into a “wall of sound” track via Mercury’s friend and producer Robin Cable. “That album was when we first really got into production, and went completely over the top,” commented Taylor. “Funny How Love Is” was sung in demanding high-register vocals, which was the reason Mercury declined to sing the song in live shows. Although there are more famous Queen love songs, “Funny How Love Is” captures the innocence and optimism of the band at the start of their journey.  From: https://www.udiscovermusic.com/stories/queen-love-songs/

Humble Pie - Black Coffee

 #Humble Pie #Steve Marriott #blues rock #hard rock #British blues rock #boogie rock #1970s #The Old Grey Whistle Test #music video

In 1973, Humble Pie performed “Black Coffee” during a broadcast on the British TV program, The Old Grey Whistle Test. The cover was off the band’s double album, Eat It (released the same year). Frontman Steve Marriott, a vocal power-house, switched up the lyrics a bit, but the feeling of the song remained. It was alive, it was allegorical, and it was as hot as a fresh cup of morning brew. Guitarist Clem Clempson, was at Marriott’s side and kept spot-on rhythm.
Humble Pie was joined by another group that nearly out-shined the intense vocals of Marriott - and that’s almost impossible. Marriott had introduced the dynamic of adding a group within the group to provide a counter-weight to his spearheading vocals. The British singer had formed Humble Pie in the late 1960s, after fronting the Small Faces where he helped make mainstream the approach to rock singing that still resonates today. Marriott wanted to deepen the connection between rock and blues and often included soul singers instead of pop back up singers. For the “Black Coffee” performance he invited the extraordinarily talented Blackberries. The trio consisted of Venetta Fields (former Ikette), Clydie King (Rolling Stones’ Exile on Main Street), and Shirlie Matthews. The Blackberries were an almost permanent fixture in Humble Pie at that point and encapsulated the entire sound of the band’s vision.
The original “Black Coffee” song is about overcoming oppression. Marriott’s version is about his devotion to musical inspirations in the black community. He acknowledges his foreignness to the original Ike & Tina track but also delivers a vocal performance that establishes his understanding of the soul and blues genres. The Blackberries add to the blues testimony most certainly, and Marriott’s  version of “Black Coffee” was perfectly framed for the rock/blues crossover.
From: https://societyofrock.com/humble-pies-black-coffee-is-served-hot-in-this-1973-performance/

 
Humble Pie was a British rock music band from 1969-82, best known for it’s hard-rocking recordings and concert performances during their peak period on A&M records from 1970-1975. The band initially consisted in 1969 of Steve Marriott (formerly of Small Faces; lead vocals, guitar, keyboards), Peter Frampton (from The Herd; lead guitar), Greg Ridley (from Spooky Tooth; bass) and Jerry Shirley (from The Apostolic Intervention; drums). The joining of all these fairly known players resulted in Humble Pie being considered a bit of a “supergroup”. Worried about great expectations, the group began working together in secret at Marriott's cottage in Moreton, Essex. Signed to Andrew Loog Oldham's Immediate Records, their debut single "Natural Born Boogie" was rushed out in 1969 and was a UK hit; it was quickly followed by the album As Safe As Yesterday Is, praised as a progressive album in the vein of Small Faces. Their second album Town and Country was also released in 1969 and featured a more acoustic sound. Humble Pie concerts at this time featured an acoustic set followed by an electric set, an approach that would become popular decades later. 1970 saw the financial collapse of Immediate, a switch to A&M Records, and a change in band management. The albums Humble Pie and Rock On, both released that year, alternated between progressive rock and boogie rock excess. A concert at the Fillmore East in NYC was captured on Perfomance: Rockin' The Fillmore (1971); it is considered one of the best live rock albums of its era, with Marriott, Frampton, and the rest of the group in fine form. The loud-quiet-loud epic "I Don't Need No Doctor" was an FM radio hit in the United States, propelling the album to the group's biggest commercial success yet.  From: https://www.last.fm/music/Humble+Pie/+wiki

Foghat - Terraplane Blues

 #Foghat #blues rock #hard rock #boogie rock #ex-Savoy Brown #1970s

Originally from England, Foghat certainly made an impression in the U.S. Known for incorporating the sound of slide guitar into their rock music, Foghat formed in 1971 in London after founding members Dave Peverett, Tony Stevens and Roger Earl left their previous English blues rock band, Savoy Brown. Rod Price brought in the group’s signature slide guitar after he left Black Cat Bones.
The band’s name originated from a word that Peverett and his brother John made up during a Scrabble-like game they were playing as children. Though legend has it that “Foghat” is a riff off the curse word, “fuck,” Peverett put those rumors to rest when he shared that it was actually a “nonsense word” he and his brother created. When playing with Chris Youlden when he joined Savoy Brown, Peverett said Youlden wanted to change his name to Luther Foghat. But just after recording their self-titled debut album, which was released in 1972, the band needed a name. That’s when Peverett went into the memory bank and pitched ‘Foghat.’
“When we did the first album, we had it all ready to go, the artwork was done. We didn’t like the name we had at that time, which was Brandywine, which sounded like a Kingston trio kind of band,” Peverett said, noting that the name reminded him of a folk band. “I came up with the little drawing of the guy with this hat and everybody said ‘at least we’ve got a logo, we’ll go with the Foghat.’ And that was it.” The back cover of Foghat features Peverett’s sketch drawing of a cartoon man’s face with his tongue sticking out with fog pouring out of his hat. “Peverett used this new word to create Junior Foghat, an imaginary childhood playmate who became an alter ego and therefore the genesis of the ‘Lonesome Dave’ persona that he was to employ as a performer.”
From: https://americansongwriter.com/behind-the-band-name-foghat/

"Terraplane Blues" is a blues song recorded in 1936 in San Antonio, Texas, by bluesman Robert Johnson. Vocalion issued it as Johnson's first 78 rpm record, backed with "Kind Hearted Woman Blues", in March 1937. The song became a moderate regional hit, selling up to 10,000 copies. Johnson used the car model Terraplane as a metaphor for sex. In the lyrical narrative, the car will not start and Johnson suspects that his girlfriend let another man drive it when he was gone. In describing the various mechanical problems with his Terraplane, Johnson creates a setting of thinly veiled sexual innuendo.  From: https://en.wikipedia.org/wiki/Terraplane_Blues

Funkadelic - Hit It And Quit It

 #Funkadelic #George Clinton #funk #R&B #psychedelic funk #funk rock #1970s

As early as 1969, George Clinton and his “Parliament-Funkadelic Thang” took on the identities of funky aliens from outer space. Like Sun Ra and Lee “Scratch” Perry, Clinton grew up in a community where black people inhabited an other-ized zone. These artists simply took a position of marginality and turned it into their own sur-reality, tweaked with their own imaginations. By the mid-seventies, Clinton took the boundary between science fiction and social reality and tie-dyed it. Clinton mostly used Parliament as his vehicle for sci-fi themes, while Funkadelic focused on Clinton’s iconoclastic musical ideas.
Clinton had lost the rights to the names “Parliament” and “Funkadelic” in the early 80s. Subsequently his cyborg funky bunch has sporadically toured under the rubric of the P-Funk All-Stars. It is easy to forget that Parliament and Funkadelic, while sharing basically the same members, once had very different identities — from their sound, to their styles, philosophies and attitudes. When people say they love George Clinton’s music, they generally mean Parliament or the P-Funk All-Stars. Parliament had the hit records, the colorful spaceship stage shows and costumes, and the upbeat funky dance music. Funkadelic, especially in the beginning, was the lesser known, down ‘n’ dirty, lysergic-crazed, evil, inbred rock ‘n’ roll twin.
Funkadelic’s unique relationship with white rock ‘n’ roll started when they had borrowed amps from Vanilla Fudge. They were so pleased with the high volume that they immediately got their own. Like Jimi Hendrix and Sly and the Family Stone, they reclaimed rock music as their own. Their crossover appeal to white audiences, while on a much smaller scale than Hendrix and Sly, was demonstrated when they graced the cover of the second issue of Creem. While they could not compete with the other two giants at their best, Funkadelic synthesized their own fusion of styles that would eventually be just as influential. Their grim inner-city blues were just as soulful as Marvin Gaye’s and Stevie Wonder’s concurrent explorations in social consciousness.
From: https://fastnbulbous.com/funkadelic-the-afro-alien-diaspora/

David Bowie - Oh! You Pretty Things

 #David Bowie #glam rock #hard rock #art rock #classic rock #electronic #singer-songwriter #pop rock #album rock #proto-punk #experimental #1970s #Old Grey Whistle Test #music video

Wake up, you sleepy head
Put on some clothes, shake up your bed
Put another log on the fire for me
I've made some breakfast and coffee
Look out my window, what do I see
A crack in the sky and a hand reaching down to me
All the nightmares came today
And it looks as though they're here to stay

What are we coming to?
No room for me, no fun for you
I think about a world to come
Where the books were found by the golden ones
Written in pain, written in awe
By a puzzled man who questioned
What we were here for
All the strangers came today
And it looks as though they're here to stay

Look out at your children
See their faces in golden rays
Don't kid yourself, they belong to you
They're the start of the coming race
The earth is a bitch
We've finished our news
Homo Sapiens have outgrown their use
All the strangers came today
And it looks as though they're here to stay

I firmly believe that to know what this song means you must be familiar with the philosophy of "Thus Spoke Zarathustra" and Nietzsche's superman. The "homo superior" is a euphemism for this superman, the most conspicuous quality of whom, according to "Thus Spoke Zarathustra," was his contempt of the common man's morality. A superman is somebody who doesn't take on society's morals as his own, but rather somebody who creates his own morality through his own inner strength and clarity of vision. An example of this clarity of vision? In Zarathustra, the seer proclaims that, though he loves peace, he is happy when he sees war. Why? Because the idiots who fight are killing themselves, which will ideally eventually result in a purified world where those who are left are peaceful and lack the destructive urge to dominate their fellow man. Now, compare this attitude to the attitude of the anti-war masses during Vietnam. Their position that all war is inexcusable was, and is, dreadfully simple-minded and untenable. Now, for Bowie, this "advancement" to being supermen might just mean sexual liberation, since this was his coming out/homosexual debut. Regardless, at least he knows his philosophy. Btw, the Nietzschean imagery is all over this album, and this is why it's one of my all time favorites.

I am nearly certain that he does mean a superior human when he speaks of "Homo Superior”. One must remember that at the time of writing Hunky Dory, Bowie was beginning to get involved in the occult, magick, brain-change etc. There are many groups out there that take the stance that we are entering a new age, and therefore a new set of humans will come about as well. He also talks in this song of "the coming race", but they are still your children, and you must see them in "golden rays" which is another bit of magickal symbolism. Even in the first verse there is a bit of a prophesy of an apocalypse. You can find a lot of Occult symbolism on Hunky Dory, actually.

To set the record "straight" - Bowie is not gay and never has been. He claimed to be "bisexual" for a time in the 60/70s when it was hip to be "sexually liberated", but it was mostly an act. Even in his interviews he admits this. Also most people get caught up in the theatrical aspect of his characters. A lot of dumb people equate makeup and women's clothing on men as homosexual, but there is quite a difference. You are only a homosexual if you exclusively have sex with only the same gender as yourself. This has never been the case with Bowie.

From: https://songmeanings.com/songs/view/42518/

Betty Davis - Nasty Gal

 #Betty Davis #funk #R&B #soul #funk rock #singer-songwriter #1970s

Picture yourself in a hot sweaty New York City nightclub in 1969, surrounded by the musical elite: Miles Davis, Jimi Hendrix, Sly Stone. The drums are pounding, an out-of-tune guitar is wailing. A beautiful woman crawls across the stage, growling into the microphone, her voice summoning fierce femininity and raw sexual energy, taking rock ‘n’ roll into a new era of sound — gritty, unbridled and raunchy. No, it’s not Janis Joplin or Tina Turner. Her name is Betty Davis. But no one would fault you if this wasn’t your first guess. When Betty Davis died on Feb. 9, the world lost a groundbreaking artist who created and inspired many of the famous sounds of the 1970s, and yet her name was omitted from the lexicon of musical history until recently. Obituaries are pouring forth, lauding her genius and contributions and lamenting her lack of commercial success. What very few of these official records of Davis’ life will state outright, however, is that her lack of recognition was a direct result of misogyny and racism.
Growing up in 1990s Berkeley, I had no clue Betty Davis existed. Bay Area rock was Santana, the Grateful Dead, Journey. Rock ‘n’ roll spoke to this 14-year-old Black girl’s alienation and frustration with the world, but also perpetuated those same feelings of alienation. I was the lone Black female face at every concert I went to. Local bands Green Day and Rancid were carrying on Berkeley’s rock legacy, yet that lineage was consistently represented as male and mostly white. I first learned about her by reading Miles Davis’ autobiography. By this point I was a professional background singer touring with local funk bands. Even as I performed with artists such as George Clinton or sang alongside members of Fishbone, I still thought my role in rock was to support a man musically. In his book, Miles described his second wife as an unparalleled performer. The woman who inspired his 1970 album “Bitches Brew.” The woman who changed his style and musical ear. It was an inspiring recollection of her. But Betty Davis remained a rock ‘n’ roll mirage. What happened to her? How had this larger-than-life woman been reduced to an anecdote in her ex-husband’s book?
In 1968, Betty Davis (then Betty Mabry) was a fixture of the New York club scene. She had built somewhat of a name for herself as a songwriter, most notably penning the Chambers Brothers’ hit “Uptown (to Harlem).” Known for her wild stage antics, flamboyant fashion and sexual magnetism, she was primed for stardom. She was friends with Jimi Hendrix and Sly Stone. She went from dating South African trumpeter Hugh Masekela to marrying American trumpeter Miles Davis in 1968. By the next year, she was recording her first album for Columbia Records with her husband at the helm. Betty Davis embodied punk rock and brought feminine sexuality to the fore, long before Madonna writhed in a wedding dress singing “Like a Virgin.” She created gritty punk/funk long before Rick James proclaimed it as his own. She bought Miles Davis his first wah-wah pedal, inspiring his foray into fusion with “Bitches Brew.” She was gestating the future of music but, even then, the record execs balked at her fierce rock ‘n’ roll. When her relationship with Miles dissolved, her recordings were shelved in a vault. Leaving New York behind, Betty migrated to San Francisco, finding communion within the Bay Area’s music community. Recorded at San Francisco’s renowned Wally Heider Studios, her debut album, “Betty Davis,” featured the region’s top musicians, including members of Sly & the Family Stone, Santana and the Pointer Sisters. It was a confident, alluring funk record, and it declared her prowess as both a woman and a rock star. She followed it up with “They Say I’m Different,” recorded at Sausalito’s Record Plant, and “Nasty Gal,” for which she went back to New York. Davis released these albums in a burst of creative energy, one each year from 1973 to 1975. Betty’s music should have fit right into the social climate of free love, feminism and civil rights in 1970s San Francisco. Instead, the public backlash was swift and crippling. The NAACP teamed up with conservative church groups to have her banned from radio for “indecency.” She was boycotted. Prevented from performing. Her album sales floundered. While white women were allowed to be sexually liberated in the free-love era, Black women were not. While Black men were allowed to gyrate onstage, Black women were not. The same sexual magnetism that made Robert Plant famous was indecent coming from Betty Davis. The American people couldn’t handle a fully empowered Black woman like Betty Davis making rock ‘n’ roll.
Eventually her music went out of print, and she went on to live a quiet private life far from her previous incarnation as a punk-funk queen. Then, as the decades passed, the tides began to change. In 2007, I opened a copy of The Chronicle with the headline “A funk queen steps out of the shadows,” written by acclaimed music critic Jeff Chang, about two of Betty Davis’ albums being rereleased. I clipped the article, ran to Amoeba Records and listened to her music. In the newspaper’s picture, I saw myself. In the music, I heard who I could be as a funk diva. With each Betty Davis rerelease, multitudes of young Black women have been able to see their embodied selves through her music. And thankfully, Betty, who died at 77, lived long enough to see it. Nearly 50 years after the release of her debut alum, Betty Davis has legions of disciples, each of us born from her vision of Black female empowerment. Amongst my local community of Black women in rock, I hear these sentiments echoed. “She showed me I could have raunchy, sex-kitten swag, and still be soft,” Oakland rock musician Femi Andrades told me. “Her music gave permission to express my rage, my sexuality, myself, unfiltered. Raw.” Berkeley singer-songwriter Viveca Hawkins said simply, “I’m grateful to know that it’s OK to be that bold.”
From: https://datebook.sfchronicle.com/music/how-betty-davis-paved-the-way-for-black-women-in-rock-and-funk

The Albion Country Band - I Was A Young Man

 #The Albion Country Band #Ashley Hutchings #Martin Carthy #John Kirkpatrick #British folk #folk rock #British folk rock #1970s #ex-Fairport Convention

The tangled vine that is the family tree of English folk-rock music has several long stems that wind through it, touching many other stems and branching wildly. One of these is Ashley Hutchings. As Ashley “Tyger” Hutchings, he was a founding member of Fairport Convention. Throughout his long career, he founded or influenced so many other bands and musicians that his status as a folk icon cannot be questioned. His insistence on exploring the pre-industrial folk music of England over more rock-based musical styles may have led to musical partings, as seen with Fairport Convention and Steeleye Span, but this idealism is compelling. One of the bands Hutchings founded after leaving Fairport Convention (besides Steeleye Span) is The Albion Band.
The Albion Band grew out of a large backing band that played on Shirley Collins’s No Roses album in 1971. The Albion Band’s lineups changed regularly, to say the least, even before the first recording as “The Albion Band.” Before the recording of their first album, the band included Richard and Linda Thompson, among others. An exhaustive history of the band in all its various incarnations, not to mention its some twenty album releases, would be of book-length.
The Albion Band’s first album, Battle of the Field, recorded as The Albion Country Band, had Hutchings, Sue Harris, Martin Carthy, John Kirkpatrick, Simon Nicol, and Roger Swallow as the band’s lineup. Ex-Fairport drummer Dave Mattacks plays on a cut as well, and four sackbuts are used to great effect on “Gallant Poacher.” The album, recorded in 1973, was not released until 1976. The feeling of the music overall is unsurprisingly reminiscent of Fairport Convention, given the musicians involved. Shortly after recording the album, this Albion Band disbanded, and Hutchings is said to have considered leaving music behind. After a break, though, he formed the all-acoustic Etchingham Steam Band, and then in 1975, restarted a new Albion Band, calling this incarnation The Albion Dance Band. In the mid to late 1970s the band concentrated on earlier music and dance music, with John Tams, Philip Pickett, Dave Mattacks, and Ric Sanders, among others, in the lineup.
From: https://agreenmanreview.com/music-2/albion-country-bands-battle-of-the-field-and-the-albion-bands-1990-happy-accident-and-songs-from-the-shows/