Looking for a clean, secure, sound abated, and social distance approved space to work on an album during this quarantine? We’ve got something for you! Rent Studio d5: The Salon for the week! - $150 for 24/7 private access. Email info@wholso.me for details.
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Bernie Sanders • Martha & The Vandellas • Janet Jackson • John Lennon & Plastic Ono Band • The Staple Singers • Talking Heads • The Strokes • Portugal. The Man • Sunflower Bean • The Ethiopians • Regina Spektor • Major Lazer • The Supremes • Mary Wells • Maggie Rogers • Tweens
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Read MoreMambo Pa'Chango
Even in the context of 1940s and early 1950s Afro Cuban music history, Alberto Iznaga seems virtually forgotten. He led what he called "Su Orquesta Siboney" in NYC for many years, and he made many records for major American labels as well as for much smaller labels specializing in latin music and mambo. This side for Decca from 1950 is one hot mambo and it notes Chango/Shango an Orisha! It was written by Obdulio Morales, who researched Afro Cuban traditions, and was as well a pianist and composer. Too bad there does not seem to be any Iznaga collections, because much of his output was very jazz, quite sophisticated, and very strong!
Read MoreLlorá
Chano Pozo's Llora was initially recorded by the famous Orquesta Casino de la Playa, in 1946, with Cascarita singing and Perez Prado leading the band. Before the 1940s ended, and perhaps while Pozo was still alive (he died 12/03/48) it was recorded by Jose Curbelo in the US with Tito Rodriguez singing. Curbelo had come to the US in 1939 and he bounced around from the better paying, latin hotel bands (including Xavier Cugat's band) until he formed his own. Many future latin stars worked in his band, including Tito Puente and of course, the singer and band leader Tito Rodriguez!
Read MoreRINKY DINK
The late 1950s and early 1960s rock scene in the Pacific Northwest was in some ways extraordinary. Most of the bands were influenced by great r&b and r&b tinged jazz, and many of them were very influenced by the Bill Doggett sound and approach, which always included organ and tenor sax. This goes for Paul Revere and the Raiders. Though some of their earliest music shows surf aspects (Orbit, their cover of Moon Dawg) The Raiders also covered the organ and sax thing, doing Allnight Long (Joe Houston, Rusty Bryant), Night Train, and this cover of a Baby Cortez big hit. It might not have the slinky qualities of the original, but whoever the sax player is, he had a strong go at sounding like early King Curtis, especially after the two minute mark. And seriously, it could BE Mark Lindsay! Cut in 1963 for the Sande label, for which the band recorded Louie Louie before it was picked up by Columbia.
Read MoreEchale Tierra Y Tápala
Myrta Silva began her singing career before she was a teen. She wrote a song that Daniel Santos had a hit with when she was 15. By 1947 she was recording with the orchestra of Julio Gutierrez and soon she was known as 'the queen of the guaracha'. And so we have a very lively guaracha on tap, with some mambo touches-flourishes and a great piano solo either from Gutierrez himself or perhaps his favorite other pianist, Peruchin!
Read MoreTake Me Back (Destination 635)
Chicago rock group The Flock, when they were on Columbia in 1969, were very much a jazzy fusion of rock and minor classical strains via violinist Jerry Goodman. Goodman did not join and record with the band until their 45 on U.S.A. in mid 1968. The earlier 45s reveal a band capable of some exacting, uptown soul, and sometimes they sounded like a cross of The Spiral Staircase and the more updated aspects of The Four Seasons. This side is a good example. It is really tight pop-rock-soul, with excellent horns, and no violin at all!
Read MoreDynamo A
While in Paris Don Byas continued to play and record with Peanuts Holland and Billy Taylor, and in January of 1947, he waxed this bebop gem. Everyone plays and makes this slice of bebop quite juicy! It should be pointed out that this tune is, by any other name Dizzy Atmosphere, and was actually first done by Dizzy Gillespie as Dynamo A and the original Byas 78 gave Gillespie credit.
Read MoreLook What You've Done
For a time, the band Smokestack Lightnin' was popular at the Whiskey A Go Go in L.A. Taking the group name from a Howlin' Wolf song, they did feature blues, blues rock and some gnarly psyche. Their earlierst 45s were done in 1967 before they got signed to Bell. From the end of 1968 to the start of 1970 the band cut four 45s and an album. Much of their material is very good, in part because of producer Bones Howe and also because singer Ronnie Darling's raspy voice handles the material very well. This track is from their second 45 and once the organ enters, it gives off an early scent of The Doors. The guitar solo is also quite sharp and edgy. Perhaps their most commercial release was their last, a version of the Delaney Bramlett gem, Hello, L.A., Bye-Bye Birmingham, but it came out at the same time as the one by Blue Cheer.
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