lunes, 31 de agosto de 2009

Mayall, John - 1966 - Bluesbreakers With Eric Clapton (2CD)

The 40th anniversary deluxe edition of John Mayall's classic Bluesbreakers with Eric Clapton album, issued in the U.K. in 2006, is a two-CD, 43-song affair, even though the original LP had just 12 tracks. While the many extras aren't nearly as essential as the original LP itself, this reissue neatly packages everything the Clapton lineup of the Bluesbreakers recorded, while still making the Bluesbreakers with Eric Clapton album the centerpiece. Disc one presents both the mono and stereo mixes of the record, which was not just Mayall's best, but also a cornerstone of both British blues and blues-rock, as well as being the first to showcase Clapton's talents in full bloom (and in a purer blues context than anytime before or since). In common with many such mono-stereo packages for CD reissues, most listeners won't find the differences drastic, but sometimes they're noticeable -- in mono, Mayall's vocal on "All Your Love" has a much hollower, echoing feel, and "Parchman Farm" has keyboards that are inaudible in the stereo mix (which, in turn, has a longer harmonica intro for the same song).

Of more value, at least as far as the extras go, is disc two, which presents no less than 19 tracks that the Clapton lineup recorded in 1965 and 1966 that didn't appear on the Bluesbreakers with Eric Clapton album. This includes the 1965 "I'm Your Witch Doctor"/"Telephone Blues" single, the A-side of which is not only one of the Bluesbreakers' greatest recordings, but one of the great rock non-hit singles of the '60s by anyone, with searing futuristic distorted guitar. Also on hand is the fine late-1965 soul-pop-flavored studio recording "On Top of the World," and the less impressive, more traditional blues of the obscure "Bernard Jenkins"/"Lonely Years" single. Then there are eight previously unreleased 1965-1966 BBC recordings, only one of them ("Key to Love") of a song that appeared on the Bluesbreakers with Eric Clapton record; the other tracks include radio versions of "I'm Your Witchdoctor," "On Top of the World," the early Mayall single "Crawling Up a Hill"/"Crocodile Walk," and three cool numbers the Bluesbreakers never put on their '60s studio records ("Cheating Woman," "Bye Bye Bird," and "Nowhere to Turn"). Rounding out the disc are the half-dozen 1966 live recordings (with both Clapton and Jack Bruce in the band) that have appeared on compilations (five of them on Primal Solos, and the sixth, "They Call It Stormy Monday," on the Looking Back collection). The sound on the BBC cuts is decent, though the performances not as full and cutting as the Clapton lineup's studio work; the live material is in fuzzier sound, though listenable. Despite the uneven nature of the second disc, however, it's great to have all of this Mayall-Clapton material in one place, and impossible to imagine a more definitive collection of the Mayall-Clapton Bluesbreakers recordings. [The Deluxe Edition contains live and unreleased versions.]


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Yepes, Narciso & Monden, Godelieve - 1980 - Rodrigo-Bacarisse

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Your Blood My Tears - Your Blood My Tears EP

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domingo, 30 de agosto de 2009

Veloso, Caetano - 1968 - Caetano Veloso

The first Caetano Veloso solo album was recorded in 1967. Soon after the III FMPB, where Veloso took fourth place with "Alegria, Alegria," he and his group (which would soon constitute the Tropicalia movement) were news, dividing opinions concerning the group's interest in fusing Brazilian music with international pop culture, lysergic psychedelia, generalized irreverence, and whatever crossed their minds. The arrangements were done by three classically trained composers, fully committed to the most adventurous experiments in modern music: Júlio Medaglia, Damiano Cozella, and Sandino Hohagen. Veloso's concept was that the album should surpass the Beatles' Sgt. Pepper's, being also very Brazilian and, at the same time, international. The record has immortal classics, such as "Clarice," "Soy Loco por Tí, América" (Gilberto Gil/Capinam), composed under the effect of the recent death of Che Guevara, "Superbacana," "Tropicália," and "Alegria, Alegria." The rest of the album has had less success but consists of excellent tracks that remain modern to this day. "Tropicália," the title track, was an unnamed song when its recording began. By suggestion of the then photographer Luís Carlos Barreto, Veloso used the same name of an installation by the visual artist Hélio Oiticica, which was composed by a labyrinth made with plants and birds and shown on a television set. The suggestion was accepted, and the Tropicalia was born.


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