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Kevin Ayers - The Confessions Of Dr. Dream (1974

Kevin Ayers -  The Confessions Of Dr. Dream (1974


Kevin Ayers -  The Confessions Of Dr. Dream (1974


Kevin Ayers ...
 is one of rock's oddest and more likable enigmas, even if often he's seemed not to operate at his highest potential. Perhaps that's because he's never seemed to have taken his music too seriously -- one of his essential charms and most aggravating limitations. Since the late '60s, he's released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude. Apt to flavor his songs with female backup choruses and exotic island rhythms, the singer/songwriter inspires the image of a sort of progressive rock beach bum, writing about life's absurdities with a celebratory, relaxed detachment. Yet he is also one of progressive rock's more important (and more humane) innovators, helping to launch the Soft Machine as their original bassist, and working with noted European progressive musicians like Mike Oldfield, Lol Coxhill, and Steve Hillage.
Ayers cultivated a taste for the bohemian lifestyle early, spending much of his childhood in Majorca before he moved with his mother to Canterbury in the early '60s. There he fell in with the town's fermenting underground scene, which included future members of the Soft Machine and Caravan. For a while he sang with the Wilde Flowers, a group that also included future Softs Robert Wyatt and Hugh Hopper. He left in 1965, met fellow freak Daevid Allen in Majorca, and returned to the U.K. in 1966 to found the first lineup of the Soft Machine with Allen, Wyatt, and Mike Ratledge.
Wyatt is usually regarded as the prime mover behind the Soft Machine, but Ayers' contributions carried equal weight in the early days. Besides playing bass, he wrote and sang much of their material. He can be heard on their 1967 demos and their 1968 debut album, but by the end of 1968 he felt burned out and quit. Selling his bass to Mitch Mitchell of the Jimi Hendrix Experience, he began to write songs on guitar, leading to a contract with Harvest in 1969. His relationship with his ex-Soft Machine mates remained amiable; in fact, Wyatt and Ratledge (as well as Ayers' replacement, Hugh Hopper) guested on Ayers' 1969 debut.
Ayers' solo material reflected a folkier, lazier, and gentler bent than the Soft Machine. In some respects he was comparable to Syd Barrett, without the madness -- and without the ferocious heights of Barrett's most innovative work. Ayers was never less than enjoyable and original, though his albums were erratic right from the start, veering from singalong ditties and pleasant, frothy folk ballads to dissonant improvisation. The more ambitious progressive rock elements came to the forefront when he fronted the Whole World in the early '70s. The backing band included a teenage Mike Oldfield on guitar, Lol Coxhill on sax, and David Bedford on piano. But Ayers only released one album with them before they dissolved.
Ayers continued to release albums in a poppier vein throughout the '70s, at a regular pace. As some critics have noted, this dependable output formed an ironic counterpoint to much of his lyrics, which often celebrated a life of leisure, or even laziness. That lazy charm was often a dominant feature of his records, although Ayers always kept things interesting with offbeat arrangements, occasionally singing in foreign tongues, and flavoring his production with unusual instruments and world music rhythms. He (or Harvest) never gave up on the singles market, and indeed his best early-'70s efforts in that direction were accessible enough to have been hits with a little more push. Or a little less weirdness. Even Ayers at his most accessible and direct wasn't mainstream, a virtue that endeared him to his loyal cult.
That cult was limited to the rock underground, and Ayers logically concentrated on the album market throughout the 1970s. Almost always pleasant, eccentric, and catchy, these nonetheless started to sound like a cul-de-sac by the mid-'70s. Ayers pressed on without changing his approach, despite the dwindling audience for progressive rock and the oncoming train of punk and new wave. He only recorded sporadically after 1980, though he remained active in the early 1990s, mostly on the European continent. The 2007 release The Unfairground was first 21st Century release.



Kevin Ayers -  The Confessions Of Dr. Dream (1974

Kevin Ayers: 'I never considered another profession'
~ one of his final interviews

********

Kevin Ayers -  The Confessions Of Dr. Dream (1974




Ann-Margret - On The Way Up (1962)

Ann-Margret - On The Way Up (1962)

Ann-Margret's RCA Victor debut album, And Here She Is..., didn't get much attention in 1961, but she did better with her bluesy single "I Just Don't Understand," which peaked in the Top 20 in September. That set up this, her second solo LP, which featured "I Just Don't Understand," and like it was recorded partially in Nashville under the aegis of Chet Atkins and Dick Pierce. The two naturally brought a slight country feel to some of the tracks, notably the remakes of Don Gibson's 1958 hit "Oh, Lonesome Me" and the 1960-1961 hit "My Last Date (With You)" (aka "Last Date"). But the closest approximation of the sound was the kind of country-inflected pop/rock being pursued by Elvis Presley around the same time, which made a rendition of Presley's first major hit, "Heartbreak Hotel," an appropriate choice. At 20, Ann-Margret was an effective singer, if something of a chameleon, seeming to adopt a different persona for each number. She was at her most seductive singing Otis Blackwell's "Slowly," and she came on like a Latin fireball on "Fever," but was demure on the singles-chart entry "What Am I Supposed to Do" and ingenuously winning on "Moon River." RCA Victor appears to have been hoping it had found a distaff Presley, and it's possible Ann-Margret might have justified such a hope if her film acting career hadn't quickly outpaced her recording career; by the time this album was released, her movie debut, Pocketful of Miracles, had been out for several months and State Fair, which would establish her as a redheaded bombshell, was just getting into theaters. (She was still a mousy brunette on the album cover.) On the Way Up was an appropriate title, but records would soon take a back seat to other career goals.

1. Oh, Lonesome Me (02:34)
2. Slowly (02:05)
3. Fever (02:49)
4. What Do You Want From Me (02:29)
5. Heartbreak Hotel (02:26)
6. I Just Don't Understand (02:37)
7. His Ring (02:20)
8. Could It Be (02:10)
9. What Am I Supposed To Do (02:44)
10. Let Me Go, Lover! (02:58)
11. Moon River (02:28)
12. My Last Date (With You) (02:37)


Antoine &Les Problemes

Antoine &Les Problemes





Antoine &Les Problemes

Jean Sarrus (basse)
Gérard Rinaldi (chanteur)
Gérard Filippelli (guitare solo, accordéon)
Luis Régo (guitare rythmique)
Donald Rieudon (batterie)
Jean-Guy Fechner (remplace Donald Rieudon



В Штатах-Боб Дилан,в Британии-Донован,а во Франции-Antoine(Настоящее имя Pierre-Antoine Muracioli).
Певец и путешественник Антуан родился в 1944 году в Таматаве (Мадагаскар), где работал его отец, позже семья вернулась во Францию и на некоторое время осела в Марселе, где мальчик закончил начальную школу. Затем были 4 года в Камеруне и снова метрополия Тонон-ле-Бен, Аннеси, Гренобль. В 1965 году юноша записал дебютную сорокапятку для лейбла Vogue, затем и альбом «Les Elucubrations», а в мае следующего года уже выступал в столичной «Олимпии». Чуть позже приходит успех в соседней Италии, где песня «Pietre», исполненная на фестивале Сан-Ремо наделала много шума. В те годы музыкант много гастролирует, выступая с концертами по всему миру – от Греции до Бразилии, но уже тогда понимает, что одних лишь аэропортов, отелей и концертных площадок ему недостаточно и решает посвятить свою жизнь путешествиям. На борту шхуны «Ом» Антуан отправляется в кругосветное плавание, в 1977 году выходит его первая книга, а в 1980 году – пластинка традиционных полинезийских песен «La Motogodille» ( c 1978 по 1988 певец сотрудничал с фирмой грамзаписи Barclay).

В 80-е годы странствия продолжаются, на этот раз на паруснике Voyage, география их весьма обширна- Полинезия, Квебек, Бразилия, Антильские острова; выходят книги и альбомы. Сменив в конце десятилетия Voyage на катамаран Banana Split, Антуан предпринимает очередное плавание, работает над фотоальбомами и фильмами (практически ежегодно выпуская по одному - два ДВД).

Возвращение Антуана на сцену состоялось в 2002 году, когда он дал несколько концертов в Париже.

На концертах и при записи альбомов Антуан зачастую сотрудничал с бит-группой Les Problemes.Выступали они "то вместе,то поврозь,а то попеременно..."В конце 1966 года Les Problemes поменяли свое название и вошли в историю как Les Charlots (тот,кто старше 30-ти,наверное,не надо напоминать кто это...Остальным лишь скажу,что это легендарная комик-группа,снявшая 15 фильмов и записавшая несколько музыкальных альбомов,но это уже совсем другая история...)Здесь представлены как совместные их записи,так и сольные работы.Альбом 2000 года-переиздание одноименного диска 1966 года с добавленными к нему бонус-треками.



Antoine &Les Problemes

Antoine &Les Problemes

Antoine &Les Problemes





After Tea - National Disaster (1969)

After Tea - National Disaster (1969)



After Tea was a Dutch flower power band formed in the Hague in 1967 by Hans van Eijck (keyboards, guitar, vocals), U.K. native Ray Fenwick (guitar, vocals), Rob "Polle" Edward (bass, organ, vocals), and Martin Hage (drums). Their first hit was "Not Just a Flower in Your Hair," and they carried on, despite personnel changes, until the early '70s.

Группа After Tea была организована несколькими бывшими участниками другого известного голландского коллектива Tee-Set, что объясняет выбор названия. Первые два альбома стилистически продолжают направление предыдущей группы: бит-поп и жизнерадостные баллады. Третий и последний альбом отличается более тяжелым гитарным звуком, это уже настоящий прогрессивный блюз-рок.
Дискография:
«National Disaster» 1968
«After Tea» 1969
«After Tea (Jointhouse Blues)» 1970
Состав:
• Polle Eduard — bass, organ, vocals
• Hans van Eijck — piano, organ, guitar, vocals
• Ray Fenwick — guitar, vocals
• Martin Hage — drums
• Ferry Lever — guitars
• Ulli Grün — keyboards
• Ilja Gort — drums

After Tea - National Disaster (1969)




Don Adams - Black Voice (1972)

Don Adams - Black Voice (1972)




"... It proofs that a temporary "Wewerka band combination" around the mysterious singer DON ADAMS can compete on a scale as one of the most soulful jazz groups to energe out of Europe. And what taff players Don got to boot: Dusko Goykovich, Lothar Meid or Olaf Kuebler still belong to some of the most respected jazz players and to the cream of the local 60s jazz scene from Munich.
Back then Motown got exported from Detroit and was fused with the best wave and the pop music to become "Mod", a European form of Soul, R&B and Jazz with own parties and dress codes. DON ADAMS met many celebrated musicans in Munich, listened to their music and jammed with the best of them. Performing as a blies and soul singer was his way of striving for relief ! The result is a stunning album of blue-eyed Soul and Jazz music , entitled after the famous 1965 "Watts roits" in the Los Angeles area of the same name, initiated by the Black Power movment as a blueprint of the actions of European and Latin students in the second half of the 60s.

In Munich, Don Adams has been around the black a few times. Born 1942 in Glasgow under the real name Hector Reay MacKay (later: Donald Reay MacKay), he was the youngest of his seven brothers and sisters. The dainty boy soon learned boxing and went to training every evening. Although being a dedicated follower of soulful singers like Otis Redding or Jackie Wilson, his violent temper was dreaded by the whole school. While coming over to Germany in the late 60s as a staff member of the musical production "Hair", he decided to stay in the Bavarian capitol right after the divorce from his first wife Rhonda, and soon started to sing with a local band called "The Mocho's".

While hanging out of the famous jazz club "Domicile", he met sax player Olaf Kuebler, who recently characterized him as a true blues singer with heart and soul: "It was not good to argue with this real Scottish street-fighter, who even became a half-professional boxer in the late 60s. Don joined many spontaneous club sessions and soon got the reputation for being "THE BLACK VOICE FROM MUNICH", also responsible for giving the one or other black eye to the people who did not like his performances. At the time he often sang at Munich's GI-club "Tabarin", the common meeting point for black US-soldiers, who Don and Olaf used to call "the ink heads". At the "Tabarin", DON ADAMS even saved Olaf Kuebler's life on one particular evening, when Olaf was misbehaving again with the typical self-importance of his sax-playing.

With this previously unavailable album, Don Adams payed homage to some of Otis Reddings's most fascinating and diverse musical moments. The outstanding soul ballad "Home Again Hello" was re-recorded in 1972 for inclusion into his second and last artists album "The Black Voice" on the United Artists lable, that could not compete with the high musical quality of the debut LP and remained unnoticed, while a previosly unreleased instrumental version of "Ev'ry Minute, Ev'ry Hour", featuring the trumpet of great Dusko Goykovich, was recently traced in the huge archives of producer Hans Wewerka.

1971 Don became a member of the successful german pop group "LOVE GENERATION" and married his professional collepue "Gitta Walther". After many TV Shows and the reception of awards, their marriage was divorced in 1976 and Don moved on to Hamburg for joining "THE LES HUMPHRIES SINGERS" and performing as a guest singer on an album by Peter Herbolzheimer. But due to his bad habits and the many excesses of the past, Don was not in the best of health anymore. It soon became clear, that he ruined his voice and could not perform as a vocalist anymore. With his second wife Angie MacKay, in 1982 they brought their daughter Jolyne to the world. He finally married in London a polish woman Anna MacKay (with whom he later had two more children: Donald Jr. und Helena), where he died in 1995 suffering from a liver disorder..".

Don Adams - Black Voice (1972)
United Artists Records
UAS 29210

Don Adams - Black Voice (1972)


01 - You Bring Me Down
02 - Don't Rag The Lady
03 - Rain BeforeThe Day
04 - Liar, Liar
05 - Season Of The Storm
06 - Morning Dew
07 - Home Again, Hello
08 - Don't Talk To Me
09 - Don't Turn Away
10 - Miss Lady

Don Adams - Watts Happening (1969)

Don Adams - Watts Happening (1969)



"..An incredible soul album, with equally incredible roots – sung by Scottish-born singer Don Adams, but recorded in the Munich scene of the late 60s! Despite that overseas origin, though, the record's a sock-solid soul effort all the way through – steeped in modes borrowed from Memphis, but carried off with a slightly different feel, thanks to the presence of a fair bit of jazz musicians on the date! Adams' voice is tremendous – a gritty, right on the money soul sound – completely color blind, and beautifully suited to the funky backings in the set. And almost best of all, the songs are mostly original or obscure numbers – not the sort of re-hashed hits that usually came out on Euro soul sides of the 60s – but killer new tracks that are steeped in a great sense of sadness and loss...." ~ (Electric Looser)

Don Adams - Watts Happening (1969)


01 - I Can't Stand Living Without Her
02 - Yesterday Hero
03 - Home Again Hello
04 - Where Are We Bound
05 - Rest My Soul
06 - That Feeling Is Gone
07 - Don't Talk To Me
08 - Soap Bubbles
09 - Look Into A Mirror
10 - What Have You Done
11 - Ev'ry Minute, Ev'ry Hour
12 - The Waves Are High Today


Don Adams - Singles

Don Adams - Singles





Don Adams became a member of the successful german pop group 'Love Generation' , the group 'Mandrake' and the 'Les Humphries Singers' (Do You Wanna Rock'n Roll).

"...Scottish-born singer Don Adams, but recorded in the Munich scene of the late 60s! Despite that overseas origin, though, the record's a sock-solid soul effort all the way through – steeped in modes borrowed from Memphis, but carried off with a slightly different feel, thanks to the presence of a fair bit of jazz musicians on the date! Adams' voice is tremendous – a gritty, right on the money soul sound – completely color blind, and beautifully suited to the funky backings in the set. And almost best of all, the songs are mostly original or obscure numbers – not the sort of re-hashed hits that usually came out on Euro soul sides of the 60s – but killer new tracks that are steeped in a great sense of sadness and loss.
 A gritty, right on the money soul sound -- completely color blind, and beautifully suited to the funky backings in the set...." ~ Electric Looser

01 - Oop-Poo-Pah-Doo (Metronome M 829)
02 - Sweet And Sour Tears
03 - Dirty Angel (Ariola 19666)
04 - A New Day

V.A. - International Beat (Qualiton Hungary)
05 - The Waves Are High Today
06 - That Feeling Is Gone

V.A.- Crying People (VIBRATON VB-6021)
07 - Unchained My Heart

08 - Identity (Liberty 15140)
09 - Like A Man

10 - Magazine Queen (Jupiter 13875)
11 - Black Mama

V.A.- Electric Underground (Sunset)
12 - Degeneration


Colin Anthony and His Beat ComboThe Animals -  Animals Blues YearsKevin Ayers -  The Confessions Of Dr. Dream (1974Ann-Margret - On The Way Up (1962)Antoine &Les ProblemesAfter Tea - National Disaster (1969)Don Adams - Black Voice (1972)Don Adams - Watts Happening (1969)Don Adams - SinglesMaybe Tomorrow

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