General Comments for all Naweedna cds
A14 The Right Kind Of Man - Toni Price
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- A15 Oh Babe What Would You Say - Hurricane Smith Superhits of the 70s (1990)
- A16 Garden In The Rain - Dan Hicks It Happened One Bite (1978)
- A17 Alicia - Eddie Harris Exodus to Jazz (1961)
- A18 La Juanda - Amos Garrett Geoff Amos - A Fine Catch (1978)
A14 The Right Kind Of Man - Toni Price Midnight Pumpkin (2001) A friend of a friend suggested I check out Toni Price, so I downloaded everything I could find and discovered I really like the lady. There are two selections on the Naweedna 2002 double CD. There will be at least one more in the future – We Just Couldn’t Say Goodbye. Vocalist and song stylist Toni Price's first exposure to blues was through second-generation blueswoman Bonnie Raitt. After studying her recordings, Price began to study the recordings Raitt learned from, women blues singers like Sippie Wallace, Victoria Spivey and others who made names for themselves in the 1960s blues and folk revival. Price began singing in high school, but after graduating she sat in with country bands around Nashville, where she was for the most part born and raised, after moving from southern New Jersey. When Price lived in Nashville in the late 1980s, she would religiously listen to local blues radio programs on college stations there. Price moved to Austin in 1989, and learned from the locals, who included Clifford Antone, owner of Antone's blues nightclub, and Austin-area guitarists like Derek O'Brien, who produced her second album. Shortly after she began singing in country bars in Nashville, she hooked up with songwriter Gwil Owen, who wrote many of the songs on her debut, Swim Away. In her blues singing career, Price cites vocalists Aretha Franklin, Emmylou Harris, Linda Ronstadt, Patsy Cline and Ray Charles as influences. Although critics have heaped praise on her gifted phrasing and delivery at her live shows and on both of her albums, the title of singer-songwriter is an inappropriate one for Price; the latter part of the title doesn't apply to her. In an interview in Austin, Price said she's never had the inspiration or desire to write songs, and figures she wasn't given that talent. Price's albums out on the Antone's/Discovery label include Swim Away (1993), Hey (1995) and Lowdown and Up (1999). Midnight Pumpkin appeared in summer 2001. Although she's relatively little-known outside of Austin's tight-knit blues community, she could be in line for a career on a par with Raitt's, if she's willing to do a lot more touring in the future. Midnight Pumpkin Artist Toni Price Album Title Midnight Pumpkin Date of Release Jun 19, 2001 AMG Rating 4 * Genre Rock As a blues and R&B singer, Toni Price has no peers. Only Bonnie Raitt and Sue Foley — both guitar players of considerable merit — can approach the emotion Price can dig from a song, and of the two only Raitt has the same confidence with the material. Here, she is surrounded by her stalwart band and a host of friends who make up the elite studio crew of Austin, TX, including fiddler Champ Hood; guitarists Derek O'Brien, Scrappy Jud Newcomb, and Casper Rawls; bassist Frosty Smith; drummer Michael Duffy; David Grissom; and string king James Burton; as well as Tommy Shannon from Double Trouble and Jon Dee Graham. There are percussionists and a horn section and the whole damn thing shimmers with grace. Price delivers her songs without the reaching wail of her earlier records because she doesn't need to; she's a more nuanced vocalist, allowing the song to dictate to her what it needs. And what a collection of songs! There's the stomping bluegrass of Shelley King's "Call of My Heart," the smoky, tender artistry of Gwil Owen's "Something in the Water," the bluesy soul of "Work on It" and "Start of Something Good," and the Okie blues of J.J. Cale's "Like You Used To." Price also digs into her considerable early swing chops on the standard "Right Kind of Man," and duets with Malford Milligan on what should now be the watermark for Joe Tex's "I Want to Do Everything for You"; its original raw soul and barely restrained heat smolders between the singers. As if that weren't enough, there's a gospel quartet version of the late Blaze Foley's "Darlin'" and Gwil Owen and David Olney's swampy R&B torch stomp "Measure for Measure." From a lesser singer, this record would be a mess, a hodgepodge of rootless styles and wasted ambition. But in the heart and voice of Price — via the production aesthetic of O'Brien and herself — these songs all segue into one another, dovetailing seamlessly into a portrait of original raw soul. Lyrics and harmonies drip from Price's honeyed mouth like fine whiskey and cut a silhouette of her profile in the heart of the blues. One listen to Midnight Pumpkin and you'll never be the same. — Thom Jurek 1. Start of Somethin' Good (Williams) - 6:01 2. Thank You for the Love (Keck) - 4:29 3. Work on It (Williams) - 4:03 4. Something in the Water (Owen) - 4:22 5. Right Kind Of Man, The (Price) - 3:25 6. Call of My Heart (King) - 3:42 7. Darlin' (Foley) - 3:55 8. Measure for Measure (Olney/Owen/Tunes) - 4:12 9. I Want To Do (Everything For You) performed by Price / Malford Milligan - 4:17 10. Who Needs Tears (King) - 2:42 11. Like You Used To (Cale) - 4:03 12. I'll Do Anything To Keep This Love Alive (Williams) - 4:37 13. We Just Couldn't Say Goodbye (Woods) - 3:13 A15 Oh Babe What Would You Say - Hurricane Smith Superhits of the 70's (1990) Got this CD from Milne Library. The very first time I played it, this track was immediately added to the Naweedna list. This is the kind of stuff I like – nothing complicated, just easy to listen to with a touch of humor. Hope you like it as well. Super Hits of the '70s: Have a Nice Day, Vol. 10 Artist Various Artists Album Title Super Hits of the '70s: Have a Nice Day, Vol. 10 Date of Release Oct 1990 (release) Genre Rock Time 41:13 This is a goofy entry in the series, mostly owing to the presence of Hurricane Smith's "Oh, Babe, What Would You Say," Loudon Wainwright III's "Dead Skunk," and Dr. Hook & the Medicine Show's "The Cover of 'Rolling Stone'," interspersed between Albert Hammond's "It Never Rains in Southern California," "Stuck in the Middle With You" by Stealers Wheel, "Brother Louie" by the Stories, Dobie Gray's soul ballad "Drift Away," and "Jimmy Loves Mary-Anne," which had the distinction of becoming an almost-major hit by Looking Glass. Nothing, however, fully prepares one for the closing track, the defiantly upbeat bubblegum pop sensibilities of "Heartbeat—It's a Lovebeat" by the DeFranco Family, a sound one had hoped was lost to the world when Donny Osmond's voice changed. — Bruce Eder 1. It Never Rains in Southern California performed by Albert Hammond - 3:12 2. Oh, Babe, What Would You Say? performed by Hurricane Smith - 3:22 3. Last Song performed by Edward Bear - 3:15 4. Dead Skunk performed by Wainwright, Loudon III - 3:08 5. The Cover of the Rolling Stone performed by Dr. Hook & The Medicine Show - 2:53 6. The Night the Lights Went Out in Georgia performed by Vicki Lawrence - 3:36 7. Stuck in the Middle With You performed by Stealers Wheel - 3:24 8. Drift Away performed by Dobie Gray - 3:57 9. Wildflower performed by Skylark - 4:07 10. Brother Louie performed by Stories - 3:55 11. Jimmy Loves Mary-Anne [*] performed by Looking Glass - 3:25 12. Heartbeat (It's a Love Beat) [*] performed by DeFranco Family / DeFranco Family - 2:59
Artist Dan Hicks Album Title It Happened One Bite Date of Release 1978 (release) AMG Rating 4.5 * checked Genre Rock Type soundtrack A cherished rarity among even his most die-hard fans, It Happened One Bite finds Dan Hicks and company — not exactly his Hot Licks, but close enough for hipster folk swing — providing the soundtrack for a 1978 animated film set during the gangster '50s. Unfortunately, the cartoon in question, at least with Hicks' exceptional soundtrack for it, was shelved. A reworked version of the film eventually released in 1982 featured none of the tunes Hicks wrote and recorded. Too bad, too, because his 13 songs are all top-notch tomfoolery of the patented Hicks variety. Though a Warner Brothers album made a brief appearance on store shelves back in the days of vinyl records, U.S. consumers looking for it on CD had only the choice of a pricey Japanese import or going without. Enter Rhino Handmade. The reissue label remedied the dilemma with a widescreen limited-edition CD pressing of 4,500 in late 2001. This disc includes the original album, plus an additional nine tunes (including the standard "It's Only a Paper Moon"). Available only from the Rhino Handmade Internet site. — Brian Beatty 1. Cruizin' - 3:04 2. Crazy 'Cause He Is - 3:28 3. Garden in the Rain - 2:45 4. Boogaloo Jones - 2:39 5. Cloud My Sunny Mood - 3:17 6. Dizzy Dogs - 1:14 7. Vinne's Lookin' Good - 2:27 8. Lovers for Life - 1:34 9. Collared Blues - 3:46 10. Waitin' (Hicks) - 2:38 11. Reveille Revisited - 2:01 12. Mama, I'm an Outlaw - 1:27 13. Boogaloo Plays Guitar - 2:46 14. You Belong to Me (King/Price/Stewart) - 3:19 15. Mama, I'm an Outlaw [Slow Version] - 1:37 16. Vinnie's Lookin' Good [Slow Version] - 1:30 17. Gone With the Wind - 6:29 18. Walkin' My Baby Back Home (Ahlert/Turk) - 4:06 19. It's Only a Paper Moon (Arlen/Harburg/Rose) - 8:05 20. Honeysuckle Rose (Razaf/Waller) - 6:07 21. Lulu's Back in Town (Dubin/Warren) - 7:38 22. Hummin' to Myself - 5:57 A17 Alicia - Eddie Harris Exodus to Jazz (1961) This comes from an album I bought in my youth – shortly after the 1961 release date. When I looked Eddie Harris up at AMG, I was shocked to find so much information … and the 5 star rating for this album. The liner notes say Eddie created this tune while walking the streets of Paris, where he was stationed while in the Army. It has to do with a lost love, Alicia, I presume. Long underrated in the pantheon of jazz greats, Eddie Harris was an eclectic and imaginative saxophonist whose career was marked by a hearty appetite for experimentation. For quite some time, he was far more popular with audiences than with critics, many of whom denigrated him for his more commercially successful ventures. Harris' tastes ranged across the spectrum of black music, not all of which was deemed acceptable by jazz purists. He had the chops to handle technically demanding bop, and the restraint to play in the cool-toned West Coast style, but he also delved into crossover-friendly jazz-pop, rock- and funk-influenced fusion, outside improvisations, bizarre electronic effects, new cross-breedings of traditional instruments, blues crooning, and even comedy. Much of this fell outside the bounds of what critics considered legitimate, serious jazz, and so they dismissed him out of hand as too mainstream or too gimmicky. To be fair, Harris' large catalog is certainly uneven; not everything he tried worked. Yet with the passage of time, the excellence of his best work has become abundantly clear. Harris' accomplishments are many: he was the first jazz artist to release a gold-selling record, thanks to 1961's hit adaptation of the "Exodus" movie theme; he was universally acknowledged as the best player of the electric Varitone sax, as heard on his hit 1967 album The Electrifying Eddie Harris; he was an underrated composer whose "Freedom Jazz Dance" was turned into a standard by Miles Davis; he even invented his own instruments by switching brass and reed mouthpieces. Plus, his 1969 set with Les McCann at the Montreux Jazz Festival was released as Swiss Movement, and became one of the biggest-selling jazz albums of all time. Eddie Harris was born in Chicago on October 20, 1934. His first musical experiences were as a singer in church, starting at age five, and he soon began playing hymns by ear on the piano. He spent part of his high school years at Du Sable, where he studied the vibraphone under the legendary band director Walter Dyett, a disciplinarian who trained some of the South Side's greatest jazzmen: Nat King Cole, Johnny Griffin, Gene Ammons, Julian Priester, and many others (even rocker Bo Diddley). He later returned to the piano and took up the tenor sax as well, and went on to study music at Roosevelt College. He landed his first professional job as a pianist, backing saxman Gene Ammons, and got the chance to sit in with greats like Charlie Parker and Lester Young. After college, he was drafted into the military; while serving in Europe, he successfully auditioned for the 7th Army band, which also included the likes of Don Ellis, Leo Wright, and Cedar Walton, among others. Following his discharge, he lived in New York and played in whatever groups and venues he could, still chiefly as a pianist. Harris returned to Chicago in 1960 and soon signed with the successful, locally based Vee Jay, which was better known for its R&B and blues acts. Although the label signed Harris as a pianist, he played only tenor sax on his first album. That album, 1961's Exodus to Jazz, would become one of jazz's most surprising success stories. The key track was "Exodus," Harris' easygoing rearrangement of Ernest Gold's theme from the epic Biblical film of the same name. It was an unlikely source for a jazz tune, and an even unlikelier hit, but it managed to catch on with mainstream radio; released as a single in a shortened version, it even climbed into the lower reaches of the pop Top 40. Its success pushed the LP all the way to number two on the pop album charts, and Exodus to Jazz became the first jazz album ever certified gold. Many critics lambasted Harris for his commercial success, overlooking his very real talent; for one, Harris played so sweetly and smoothly in the upper register of his horn that many listeners assumed he was playing an alto, or even a soprano sax. Stung by the criticism, Harris long refused to play "Exodus" in concert; nonetheless, he recorded several albums for Vee Jay over the next two years that often contained attempts to duplicate his movie-theme-adaptation idea. None of his records were as popular as Exodus to Jazz, though they sold quite respectably. In 1964, Harris moved over to Columbia, pursuing a similar musical direction (albeit with orchestral backing at times). Harris switched over to Atlantic in 1965 and promptly rejuvenated his jazz credentials with The In Sound, a classic, fairly straight-ahead bop album that introduced his original "Freedom Jazz Dance" (later covered by Miles Davis on the classic Miles Smiles). On the follow-up, 1966's Mean Greens, Harris dabbled in the electric piano; later that year, on The Tender Storm, he first experimented with the electric Varitone saxophone, which was essentially a traditional instrument fitted with an amplification system and an electronic signal processor that allowed for different tonal effects. That instrument became the focus of 1967's The Electrifying Eddie Harris, a bluesy, funky soul-jazz classic that marked Harris as one of the very few sax players to develop a distinctive, personal style on the electric sax that was also unique to the instrument's capabilities. A re-recorded version of "Listen Here" (originally featured on The Tender Storm) gave Harris a second major hit single; it just barely missed the R&B Top Ten, which helped send the LP to number two on the R&B album charts. Subsequent follow-ups — Plug Me In, High Voltage, the Echoplex-heavy Silver Cycles — found Harris' electrified brand of jazz-funk selling well on both the jazz and R&B charts over 1968-69, regularly making the Top Five on the former and the Top 40 on the latter. In 1969, Harris joined pianist Les McCann's regular group at the Montreux Jazz Festival; despite a complete lack of rehearsal time together, the onstage chemistry was immediate, and the gig was released as the LP Swiss Movement, credited to McCann and Harris. Paced by the hit singles "Compared to What" and "Cold Duck Time," Swiss Movement hit number two on the R&B charts en route to becoming one of the biggest-selling jazz albums of all time. Meanwhile, Harris' solo career continued apace, with increasingly playful — and sometimes bizarre — experiments. 1970's Come On Down was a more jazz-rock-flavored session that found Harris singing into his horn through its effects unit. He also began to experiment with new horns, inventing such instruments as the reed trumpet (basically a trumpet fitted with a sax mouthpiece; heard most notably on 1970's Free Speech and 1971's Instant Death) and the saxobone (a sax with a trombone mouthpiece). 1972's Eddie Harris Sings the Blues further explored the concept of singing through his horn, with often strange results; the following year's E.H. in the U.K. took him to Britain to record jazz-rock with Steve Winwood, Albert Lee, Jeff Beck, and others. The spacy, heavily electronic Is It In, issued in 1974, ranked as one of his most creatively successful experiments. Subsequent albums like I Need Some Money, Bad Luck Is All I Have, and That Is Why You're Overweight were all over the musical map, but favored comic R&B-style vocal numbers, now without the electronic effects. Harris' sales had been slipping, but were still fairly strong for a jazz artist, up until 1975's The Reason Why I'm Talking Shit, which abandoned humorous songs in favor of full-on, adults-only stand-up comedy. Only a few bits of music were interspersed between all the nightclub patter, and the results were so left-field that Harris' audience stayed away in droves. Thus, 1976's wide-ranging How Can You Live Like That? was largely ignored, and Harris parted ways with Atlantic by 1978. Harris went to RCA for two albums recorded in 1979, the limp fusion outing I'm Tired of Driving and the completely solo Playing With Myself, on which Harris dubbed horn solos over his own piano work. He didn't stay for long; over the course of the ‘80s and ‘90s, he recorded mostly for small labels like Steeple Chase, Enja, Timeless, and Flying Heart, among others. These albums found Harris returning to traditional hard bop, generally in acoustic quartet settings. He made his final studio recordings in the mid-‘90s, and was forced to stop performing by the combined effects of bone cancer and kidney disease. He passed away in Los Angeles on November 5, 1996, about six months after a final concert engagement in his hometown of Chicago. Exodus to Jazz Artist Eddie Harris Album Title Exodus to Jazz Date of Release Jan 17, 1961 (recording) AMG Rating 5 * Genre Jazz Time 40: One of the biggest hit jazz LPs of the post-rock & roll era, Eddie Harris' Exodus to Jazz seemed to come completely out of left field. It was the debut album by a previously unknown artist from an under-publicized scene in Chicago, and it was released on the primarily R&B-oriented Vee Jay label, which had originally signed Harris as a pianist, not a tenor saxophonist. The impetus for its breakthrough was equally unlikely; Harris adapted Ernest Gold's stately, somber theme from the Biblical film Exodus — which had been covered for an easy listening hit by Ferrante & Teicher — and made it into a laid-back jazz tune. Edited down to 45-rpm length, it became a smash, reaching the pop Top 40 and pushing the album to the upper reaches of the charts — a nearly unprecedented feat for instrumental jazz in 1961. Its stunning popularity sent jazz critics into a tizzy — after all, if it was that accessible to a mass audience, there just had to be something wrong with it, didn't there? In hindsight, the answer is no. Exodus to Jazz is full of concise, easy-swinging grooves that maintain the appealing quality of the strikingly reimagined title track (particularly Harris' four originals). Far removed from his later, funkier days, Harris plays a cool-toned tenor who owes his biggest debt to Stan Getz's bop recordings, though there are touches of soul-jazz as well. He's no slouch technically, either; he plays so far — and so sweetly — in the upper register of his horn that some still mistakenly believe he was using an alto sax on parts of the record. Exodus to Jazz paved the way for numerous other crossover successes during the '60s (many in the soul-jazz realm), and while that may not be a credibility-boosting trend to start, the music still speaks for itself. — Steve Huey 1. Exodus (Gold) - 6:38 2. Alicia (Harris) - 3:39 3. Gone Home (Harris) - 2:53 4. A.T.C. (Harris) - 5:31 5. A.M. Blues (Harris/Pickens) - 2:45 6. Little Girl Blue (Hart/Rodgers) - 3:21 7. Velocity (Harris) - 5:08 8. W.P. (Pickens) - 4:31 A18 La Juanda - Amos Garrett Geoff & Amos - A Fine Catch (1978) Amos is one of those 60s folk revival people. He frequently appears with Geoff Muldaur, as on this album. I have the vinyl, which was the source of this track. Oddly, when I looked it up on AMG, this track was not listed. I added it and renumbered the tracks after. This is a Chuck Berry tune, and I think Garrett does a nice job with it. Detroit native Amos Garrett began working as a professional guitarist north of the border in Toronto. There he played with the Dirty Shames, a folk jug band, before moving on to the country-rock-oriented Great Speckled Bird at the invitation of Ian and Sylvia Tyson. Maria Muldaur's "Midnight at the Oasis" features his guitar playing, as does Anne Murray's "Snowbird." Other artists who have utilized his talent include Stevie Wonder, Emmylou Harris, Jessie Winchester, Paul Butterfield, Hungry Chuck, and Geoff Muldaur. His studio work led him to California, and he continued to record with other artists. Later, with the Eh Team backing him, Garrett also put out his own recordings, more than half a dozen on Stony Plain Records. In 1989, his album The Return of the Formerly Brothers, garnered a Juno Award. The release also featured Gene Taylor (formerly of Downchild, the Blasters, and later with the Fabulous Thunderbirds) and Doug Sahm of the Texas Tornados. Garrett and the Eh Team continue to play nightspots in Canada, where he resides in Alberta. He toured Japan in 1990, with stops in Kyoto, Osaka, and Tokyo. The concerts there found their way onto a live album. Geoff & Amos Artist Geoff Muldaur w/ Amos Garrett Album Title Geoff & Amos Date of Release Dec 1978 (release) AMG Rating 3 * Genre Folk Time 29:50 AMG REVIEW: On this album, two artists who were prominent in folk music during the '60s sing and play a variety of lively material. — All Music Guide 1. My Tears Came Rolling Down (Davis) - 3:52 2. River's Invitation (Mayfield) - 3:16 3. Prelude in E Minor, Op. 28, No. 4 (Chopin) - 2:38 4. Sloopy Drunk (Traditional) - 3:15 5. La Juanda (Chuck Berry) – 4:15 6. Carolina Sunshine Girl (Rogers) - 3:13 7. Washboard Blues (Carmichael) - 3:19 8. Dance of the Sugar Plum Fairy (Tchaikovsky) - 1:36 9. Chicken Stew, Pt. 1 (Muldaur) - 3:46 10. Dance of the Coloured Elves (Muldaur) - 2:32 11. Beautiful Isle of Somewhere (Fearis/Pounds) - 2:23 Directory: ~boger -> SaturdayAM -> Saturday%20AM%20Downloads -> music music -> General Comments for all Naweedna cds Download 192.96 Kb. Share with your friends:
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