Monday, 24 September 2018

Cedric Im Brooks* & The Light Of Saba ‎ "The Magical Light Of Saba" 1974 Jamaica Reggae


Cedric Im Brooks* & The Light Of Saba ‎ +The Magical Light Of Saba" 1974 ultra rare Jamaica  Reggae, Ska & Dub 
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The Light Of Saba’s Third album from the mid seventies featuring killer tunes as “Outcry” “Sabayindah” “Jah Light It Right” with band leader Cerdic Im Brooks mixing up Reggae, Roots, African rhythms recorded at Joe Gibbs Studio & Harry J’s….~


Heavy intricate rhythms (with hand drums around everywhere), subtle horn lines and great songs, chants and instrumentals with a crossover sound of all kinds of styles with Reggae at the core, with some of the best Reggae people and places. …by..Dan…~


From roots & culture classics to a bit more serious 70’s jazz funk. One for serious music fans, not just a reggae record. Nyabingi drumming, funky & mellow horns, 70’s funk, dub , conscious lyrics, calypso, floating flutes, jazz rhythms, it’s got it all and what more could you ask for? All to come out of Jamaica in one record!…by…. ragnumpiza….~


Great album. Definitely 5 stars. I have it for three days now and I’ve been listening to it non stop. It’s jazz, roots reggae, dub, mento, Afrobeat, african percussions, Cuban music, nyabinghi and disco from the 1970’s. There are 19 tracks but it’s still too short. For people who like Rico Rodriguez, Fela Kuti, Sun Ra, Chic,… 
The only complaint I have is that it doesn’t feature the extended version of ‘Africa’….~


This is an absolutely staggering reggae album. As powerful as any I’ve ever heard- the grooves simply have to be heard to be believed. A classic in every way…..by….Paul A. Tatara….~


Reggae yes! But roots! One that highlights the instrumentations and improvisations. On the borders of Afro-Beat and Latin Jazz, the reggae of saxophonist Cedric Brooks seduce you in the manner of voodoo! 
Cedric Brooks was born in 1943 in Kingstown. First clarinet player at school, he will then study the saxophone and the flute. It is already at the beginning of the sixties that one finds it within the Vagabonds and the Granville Williams Band . In 1968, with the trumpet player David Madden he recorded, under the name of Im & David , several instruments for Coxsone Dodd . He will collaborate with the famous producer again in the 70’s. In 1970 he worked with Count Ossie , notably under the name of Mystic Revelation of Rastafari , to finally stand on his own since 1974, as that Light of Saba. The Institute Of Jamaica will order From Mento To Reggae To Third World Music , which traces the history of Jamaican music, that which goes from ska to rocksteady and even by the rhythms of the Caribbean. 
From 1977, it is for the mythical Studio One that IM will record several singles and even an album, Flash Forward . Cedric Im Brooks is considered a key figure in reggae, and instrumental reggae in particular. The Skatalites and Abyssinians , two legendary groups of reggae, were not mistaken by engaging here and there, in concert or studio. The album, published by Honest Jon’s, the London record label that has become a label thanks to Damon Albarn , intends to trace Brooks’ long career in no less than 19 tracks. 
Calypso, funk, rumba, bebop jazz, Afro-beat, nyabinghi and disco are the genres that Brooks explores to serve us a varied reggae of very high quality. Brass is one of the essential ingredients of the reggae roots, namely the true, the one and only . We tend to forget it too often, especially when listening to what is being done. Nothing beats yet a reggae concert with brass … 

From the first title, “Lambs bread collie”, the tone is given: here comes the time when the rastaman was king. The saxophone is brilliantly highlighted on an intoxicating tempo, where percussions briskly swarm the battery, in the manner of Prince Far I . “Words of Wisdom” takes us under the hot sun of the Caribbean island. Purely instrumental songs sit side by side with sung songs, and the record gradually takes possession of all your faculties of perception … 

Titles like “Sabebe” sometimes look to Africa and Afro-beat popularized by Femi Kuti , and thus also think of funk. “Nobody’s business”, with female choirs very mixed up, go in the same direction. “Africa” ​​is a superb tribute to the king of African funk. 
“Salt lane rock” or “Sabayindah” will rather delight fans of jam sessions, where the instruments follow one another (up flutes, clarinets, trombones, in addition to trumpets and saxophones, not to mention guitars, synth, congas, percussion and the inevitable but oh so enjoyable double bass). Those who love brass and percussion (especially highlighted in “Sound”), all on the bass bass sound will have for their curiosity and taste of the thing, and they do not imagine until which point ! And if in addition you do not disdain to hear a voice of fart (but the seal is it not obligatory in these tropics?) To recite Rastafari and Zion in profusion, you may reach the seventh heaven. 
Listening to this record we think about what’s best in the genre, from Congos to Yabby You . This is for reggae. As for the afro-beat, we have a beautiful palette more than illustrative of its kind. Finally, those who love jazz, or more especially jazz jazz with Jamaican accents (“Song for my father”) will also be served. “Collie version”, the last title, honors the dub. It’s happiness, “Jah light it right”!……Honest Jon’s records…….~



Tenor saxophonist Cedric “Im” Brooks is one of Jamaica’s most adventuresome musicians. Born in 1943 in Kingston, Brooks has the heart of a bop jazzman beating to a reggae rhythm, and his experiments with ancient rasta nyahbinghi drum patterns has led him to fuse elements of calypso, rhumba, jazz, Afro-beat, funk, Latin, and soul into a totally unique, Sun Ra-like synthesis. His first notable recordings were done with trumpeter David Madden in the late '60s for legendary producer Coxsone Dodd. Brooks soon became a mainstay at Dodd’s Studio One recording facility in Kingston, joining with fellow Jamaican jazz musicians like Ernest Ranglin, Jackie Mittoo, Roland Alphonso, and Vin Gordon to form a loose confederation of players that constituted the greatest house band in Jamaican musical history. Their various Studio One backing tracks have been versioned repeatedly and form the very backbone of the island’s musical heritage. Brooks released a marvelous album called Im Flash Forward playing sax over some of these famous tracks in 1977. He teamed with nyahbinghi drummer and bandleader Count Ossie for two groundbreaking albums that fused rasta drumming with jazz overtones: Grounation and Tales of Mozambique. With his own orchestra, Brooks released The Light of Saba in 1974 and the multi-layered, big-band masterpiece United Africa in 1978. Combining traditional African and Jamaican approaches with what comes closest to free jazz, Brooks has continually given himself no limits, and his body of work is as fascinating and indispensable as any other musician on the island. VP reissued 1975’s From Mento to Reggae to Third World Music on CD in 2008 and it makes a perfect introduction to the range of Brooks’ impressive talent…..~ 


Credits 
Alto Saxophone, Tenor Saxophone, Percussion – Im Brooks* 
Bass, Voice – Michael Rastar* 
Congas, Percussion, Voice – Chimpeka, Sister Eleanor* 
Drums [Rasta Drums: Bass] – Brother Brown* 
Drums [Rasta Drums: Fundeh] – Brother Levi*, Ennis, Son*, Monty* 
Drums [Rasta Drums: Peta] – Fats (5), The Mediators (2) 
Guitar – Little Dee* 
Lead Guitar, Voice – Brother Maurice* 
Percussion, Other [Legs] – Bubum 
Percussion, Other [Traps] – Shan* 
Percussion, Voice – Liz* 
Trombone, Voice, Percussion – Nambo* 
Voice, Other [Traps] – Young Son











Tracklist 
A1 Theme: Light Of Saba / Divine Light 5:45 
A2 Song For My Father 5:00 
A3 Abuku 3:00 
A4 Love Breda 4:03 
B1 Sabasi 4:50 
B2 Words Of Wisdom 3:20 
B3 Peanut Vendor 3:37 
B4 Chants 5:05 

Electric Zoo “Diamonds In The Sand” 2013 Israeli Heavy Psych,Stoner debut album.


Electric Zoo “Diamonds In The Sand” 2013 Israeli Heavy Psych,Stoner debut album..recommended..!
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https://open.spotify.com/album/1WYQTzJP2Fw6vpQlNoMtBl

full soundcloud

https://soundcloud.com/electric-zoo-band/sets/diamonds-in-the-sand

full dezeer

https://www.deezer.com/sv/album/49192742

full bandcamp

https://electriczoo.bandcamp.com/album/diamonds-in-the-sand

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https://www.facebook.com/electriczooband/


Electric Zoo is a dynamic power trio akin combining elements from Psychedelia, Hard Rock, Funk, Blues and Jazz, and armed with a warm, live and retro sound, a tight rhythm section and ground-shaking energy. 
The band is one of the most talked-about acts in Israel’s Indie scene, heralded for leaving its mark in every major venue it plays. Critics have panned it as Israel’s finest Rock band. …~


The debut album by Electric Zoo offers the kind of Retro Rock that really takes you back in time, almost as back as the late 1960s. Now, Retro Rock can be frustrating, as usually it results in no more than esthetic rehash of old, often lacking imagination and soul; but Diamonds In The Sand is certainly not that case. While Electric Zoo does restore the sounds of old it does this naturally and as a way of staying true to the original, classic rock heritage. 

The songs are simply lovely - memorable, somewhat minimal and mostly fun, and they are driven by creative guitar playing and a production that allows the songs to breathe with slightly psychedelic echoes of Cream as opposed being crammed. There is the sense of freedom here that can (and does) bring forth a spot-on guitar solo that does not sound technical even for a split second, but instead acts as a mood setter for the song and the listener; and the entire joy of playing blues based rock is well apparent and commendable. 

“Nothing In The World” alone should have most electric blues rock fans hooked with its flirt between The Who’’s take on “Young Man Blues” and Fleetwood Mac’’s “Oh Well.” Who would have thought that in 2013 it would be an Israeli band who would revive the classic British rock legacy so faithfully?! (9/10)….~


The hottest band to come out of Israel’s burgeoning indie scene in the last few years is Electric Zoo. After many years of building up their reputation in music festivals round Israel, and to the delight of their many fans, they now release their debut album ‘Diamonds In The Sand’. 
The Tel-Aviv three-piece has come a long way since forming in 2009. Electric Zoo have gained a faithful and ever-growing following in Israel after playing countless venues and festivals, and now aim to add to their numbers with the release of their debut offering 
With a sound akin to the psychedelic British rock of the late 1960’s, The Who and Fleetwood Mac being obvious influences, Electric Zoo bring the warm, retro sounds of the Sixties mixed with their own talent straight into the 21st Century. The band have managed to create a sound that is minimal and memorable, guitars twang and drums beat with an infectious energy that is the bands’ calling card. The band acquired their name from a friend who said that they ‘looked like wild animals plugged into electric sockets’, a tag that suits the band in both sound and look. 
In creating this new album, the band stuck rigidly to the retro, minimalistic roots so embedded in their music. Equipment which was only available in the 1970’s was allowed in the studio, and they created a ten-song album in the space of four days! …~








Credits 
Bass Guitar – Yuval Gesser 
Drums – Amir Steinberg 
Vocals, Guitar – Gal Davidson


Tracklist 
1 A Little Bit Of This, A Little Bit O’ That 3:03 
2 Color Of My Blues 3:28 
3 Makin’ Love 4:21 
4 In The Palm Of My Hand 3:53 
5 Marital Bliss 4:03 
6 There You Go 3:13 
7 Sapphire Eyeys 5:27 
8 Ice Cream 4:07 
9 Texas 6:46 
10 Nothing In The World 3:53 
11 The Way 4:40 
12 Startled 4:32 

Sunday, 23 September 2018

Eugenio Finardi "Non Gettate Alcun Oggetto Dai Finestrini" 1975 Italy Prog,Pop Rock debut album


Eugenio Finardi  "Non Gettate Alcun Oggetto Dai Finestrini" 1975 Italy Prog,Pop Rock  debut album 
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https://open.spotify.com/album/0niDmshhGO5guej4qNtFm0

full dezeer

https://www.deezer.com/sv/album/14401354


Finardi’s solo debut album, recorded at the Fono-Rome-Milan Sound Recording in Milan, sees the participation of first-rate musicians and collaborators: Alberto Camerini on guitars and co-production, Hugh Bullen on bass, Walter Calloni on drums, Giuseppe Banfi on keyboards and moog, Lorenzo Vassallo on percussion and Lucio Fabbri on violin. The compositions are fully affected by the historical / political / social context of the period, so as to be able to outline a credible cross-section. 
If only avess i , is a clear criticism of the consumer society based solely on appearance and the frenzy of possession, with the guitars of Camerini and violin in evidence Fabbri. 
When you are about to begin , it is a hymn of condemnation to compulsory military service, flaunted in an era that will make antimilitarism one of its strongest protest points. 
The story of the mind , a piece written with four hands by Claudio Rocchi, is an invitation to believe in one’s own experience rather than notions, laws and duties that are imposed and imposed. An ode to freedom of thought. 
We will greet Mr. Master is a rock version of a classic social protest song of workers and women. A clear stance that makes Finardi one of the greatest representatives of the Italian militant scene. 
Taking it easy , a song entirely sung in English, is a splendid electro-acoustic composition with delicate and relaxed tones (as well as a dispassionate suggestion!). 
Caramba , simplistically seen as a piece of incitement to the riot, is the clear representation in music of those who will later be remembered as “years of lead”. A historical document. 
Afghanistan , written with Camerini, follows the guiding thread of the previous passage, marking a hypothetical parallel between the war in Afghanistan and the episodes of urban guerrilla that raged in Italian cities in those years (Milan above all). When you have the courage to tell the truth (albeit uncomfortable) !!!….by Antonio Menichella…~


In 1975 he debuted the prototype of a particularly angry Italian singer-songwriter, Eugenio Finardi in fact with his debut album, and especially with the subsequent “Sugo” and “Diesel”, brings in the beautiful country a wave of rock at high concentrations of political themes and social , his position as a singer of the chaotic times of the period, ugly and very difficult and continuous tensions, today make it a witness of a dark period of Italian history. 

Listening to his first production today makes many relive periods of unrest and militancy, in others as in my case, who did not live in the ‘70s, they are a simple and direct means of trying to understand something. It should be noted that Finardi is not a singer-songwriter like other of his contemporaries , is a rocker in all respects and in this work gives very successful and overwhelming songs , we start with “ Se Solo Avessi ”, the guitar by Alberto Camerini gives the first distorted riff , then Calloni arrives at the drums and begins the ride on which Lucio Fabbri’s violin is inserted , while Finardi sings 

“ If only I had a Kawasaky / then yes I would do all the women I would like / but as a Kawasaky I do not have it / only I will stay / at home to smoke / and wait ”, 

it is a hymn to being oneself and to realize oneself with one’s own strength 

“ And sooner or later you will understand / that what you have done will possess / that what you have thought will come true / ”. 

Musically it is a song that is affected by the prog-rock nostrano, the violin above all said the difference in the whole album, “ When You’re To Begin ” is instead a ballad about the duty to serve the country, the military is rightly seen as a huge waste of time, in those who have been under the arms will awaken many memories, in others, like me, who have been lucky enough to see the compulsory leverage abolished, an opportunity to reflect on the role it has played in the formations of many generations, good and bad. 

“ La Storia Della Mente ”, on the freedom of thought written with Claudio Rocchi is another beautiful ballad with a beautiful sax in evidence, a few agreements for a masterpiece , with high social content also “ Caramba ” and “ Afghanistan ”, overwhelming the cover de “We Will Greet The Master ” of the Marini. 

A beautiful and important album , which opens the best series of albums by Finardi, before the era of the historical ebb of the '80s that will, understandably, towards sophisticated and refined forms of pop, made the most of “Dal Blu” by 1983….De Baser….~


I had met Eugenio at Number One. He had a group together with Alberto Camerini, “La grande Maria”. He felt strong within himself his Anglo-Saxon side, his mother was American, so he recorded as a soloist in English of 45 laps without great feedback. I found him in Cramps and as for the Canzoniere of Lazio it was indispensable to have my major presence, with Gianni had a relationship of love and hate, his Latin part made him intolerant to the coldness of Sassi. Trying to mediate between the coherence of Cramps and the explosive energy of Eugenio, we tried to identify a space in which the two worlds could live together. Finardi was certainly the first artist in Cramps who could combine style with success. Without taking anything away from others, he had a physical personality and as a singer-songwriter liked the melodici to the rocchettari and the engaged ones, it was transversal. After asking the railways of the state the possibility of borrowing one of those plates on which was written “Do not throw objects out the window” I was forced to turn to a small structure that did funerary works in ceramics. It was a shop that stood between Via Marghera and Piazza Piemonte, I made two and then I brought it all from Rancati as he had to rebuild the wooden cube I asked him to age them, give them that patina used. Rancati was a structure that I used to address every time I had to take a picture or a cover and I needed a stage object or a costume. It had a huge shed at the end of via Novara. There were the sets of many operas, the most impeccable tools are the armor of every age, carriages and shoes, shoes and wigs, spears and firearms, I spent the afternoons in those objects, films that had marked the history of cinema. In a warehouse next to it there was the workshop working artisans able to rebuild anything that belonged to every age. I believe that after a fire that happened a few years ago they moved to their home in Rome….Cesare Monti…~


Credits 
Acoustic Guitar – Alberto Camerini, Attilio Zanchi 
Bass – Hug Bullen* 
Drums – Walter Calloni 
Electric Guitar – Alberto Camerini, Eugenio Finardi 
Engineer – Piero Bravin 
Guitar – Lucio Bardi 
Keyboards – Dario Piana 
Lead Guitar – Alberto Camerini 
Percussion – Lorenzo Vassallo 
Piano – Eugenio Finardi 
Saxophone – Paolo Ghirelli 
Synthesizer [Moog-Sinth] – Eugenio Finardi 
Synthesizer [Moog] – Giuseppe Banfi 
Violin – Lucio Fabbri 
Vocals – Eugenio Finardi


Tracklist 
A1 Se Solo Avessi 7:45 
A2 Quando Stai Per Cominciare 4:52 
A3 La Storia Della Mente 6:28 
B1 Saluteremo Il Signor Padrone 6:08 
B2 Taking It Easy 3:30 
B3 Caramba 4:10 
B4 Afghanistan 4:46 

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