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2017. július 26., szerda

26-07-2017 12:01 FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1964-1970 3h 24m

26-07-2017 12:01 FAVTRAX:MiX ~ 50 FAVOURiTE tracks 1964-1970 3h 24m >>The Hollies, Koerner Ray and Glover, John Fahey, Wynton Kelly Trio / Wes Montgomery, Simon & Garfunkel, Tages, Van Morrison, Canned Heat, The Electric Flag, Spirit, Julie Driscoll and Brian Auger and the Trinity, Taste, Syd Barrett, David Bowie<<


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One of the leading lights of the '60s British Invasion, distinguished by their high harmonies and ringing guitars. / When the Hollies -- one of the best and most commercially successful pop/rock acts of the British Invasion -- began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time...
The Hollies
Nitty Gritty/Something's Got a Hold on Me (Lincoln Chase) 4:07
To You My Love (Allan Clarke / Tony Hicks / Graham Nash) 2:04
Too Much Monkey Business (Chuck Berry) 2:22
from In The Hollies Style 1964
Released only ten months after their debut album, Stay With the Hollies, their second album was a huge leap forward in every respect. Their famous airtight harmonies were now in place, and the sloppiness of the instrumental attack gone. Most important, the group developed enormously as songwriters. Eight of the 12 tracks were Hollies originals and quite skillful in their mastery of the British Invasion essentials of driving, catchy melodies and shining harmonies...

In today's climate of a blues band seemingly on every corner with "the next Stevie Ray Vaughan" being touted every other minute, it's hard to imagine a time when being a white blues singer was considered kind of a novelty. But in those heady times of the early '60s and the folk and blues revival, that's exactly how it was. But into this milieu came three young men who knew it, understood it, and could play and sing it; their names were Koerner, Ray & Glover. They were folkies, to be sure, but the three of them did a lot -- both together and separately -- to bring the blues to a white audience and in many ways, set certain things in place that have become standards of the Caucasian presentation of the music over the years.
Koerner, Ray and Glover
Black Dog (Traditional) 2:08
Black Betty (Lead Belly) 0:59
Crazy Fool ("Spider" John Koerner) 3:40
Fannin Street (Lead Belly / Huddie Ledbetter) 5:05
from Lots More Blues, Rags and Hollers 1964
John Koerner, Dave Ray and Tony Glover, who emerged from the same University of Minneapolis music scene that produced Bob Dylan, were the best white folk blues group of their day. This reissue of one of their influential mid '60s albums -- which sounds at times like a cross between the Kingston Trio and Sonny Boy Williamson -- provides ample evidence of that. Koerner and Ray were first-rate guitarists, Glover could play harmonica like nobody's business and they all sang with style, enthusiasm, and a dash of humor. Plus, they had great material, some from blues giants like Lead Belly and Memphis Minnie, but much of it original...

One of acoustic guitar's prime innovators (and eccentrics), he mixed traditionalist forms (folk, blues, country) with a decidedly modernist sensibility. 
John Fahey
Beautiful Linda Getchell (John Fahey) 1:54
Orinda-Moraga (John Fahey) 3:55
I Am the Resurrection (John Fahey) 2:53
On the Sunny Side of the Ocean (John Fahey) 3:13
from The Transfiguration Of Blind Joe Death 1965
A strange man, John Fahey, with an unusual set of guitar styles. This album, originally released on Riverboat Records and later reissued by Fahey's own Takoma label, has a lot of rough edges in terms of the recording but a tremendous amount of power when it comes to the music. Fahey was at the top of his game, alternately playful and dark, so there's never a dull moment. There is always something new to be heard on each playing.

The most influential jazz guitarist of the 1960s, who expanded the resources of the guitar in all its main functions: chordal, melodic, and rhythmic. / Wes Montgomery was one of the great jazz guitarists, a natural extension of Charlie Christian, whose appealing use of octaves became influential and his trademark. He achieved great commercial success during his last few years, only to die prematurely.
Wynton Kelly Trio / Wes Montgomery
A superb accompanist loved by Miles Davis and Cannonball Adderley, Wynton Kelly was also a distinctive soloist who decades later would be a strong influence on Benny Green. 
No Blues  (Miles Davis) 12:56
Unit 7 (Sam Jones) 6:43
What's New? (Johnny Burke / Bob Haggart / Robert Haggart) 6:11
from Smokin' At the Half Note 1965
Smokin' at the Half Note is essential listening for anyone who wants to hear why Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this "the absolute greatest jazz guitar album ever made," and with performances of this caliber ("Unit 7" boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio...

The most successful folk-rock duo of the 1960s, Paul Simon and Art Garfunkel crafted a series of memorable hit albums and singles featuring their choirboy harmonies, ringing acoustic and electric guitars, and Simon's acute, finely wrought songwriting.
Simon & Garfunkel
Leaves That Are Green (Paul Simon) 2:20
The Sound of Silence (Paul Simon) 3:03
Kathy's Song (Paul Simon) 3:17
from Sounds of Silence 1966
Simon & Garfunkel's second album, Sounds of Silence, was recorded 18 months after their debut long-player, Wednesday Morning, 3 AM -- but even though the two albums shared one song (actually, one-and-a-half songs) in common, the sound here seemed a million miles away from the gentle harmonizing and unassuming acoustic accompaniment on the first record...

The Tages were without a doubt, the best Swedish band of the '60s and one of the best '60s rock acts of any sort from a non-English speaking country. Although the group's first recordings were pretty weak Merseybeat derivations, in the mid-'60s they developed a tough, mod-influenced sound that echoed the Who and the Kinks and recorded quite a few originals, making the Swedish Top Ten over a dozen times in all...
Mohair Sam (Dallas Frazier) 1:53
Gone Too Far (Göran Lagerberg) 3:03
Mustang Sally (Bonnie Rice) 3:52
from Extra Extra 1966

Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon.  / Soulful Irish singer/songwriter who combines folk, gospel, R&B, rock, and jazz, often with a mystical bent. 
Van Morrison
Brown Eyed Girl (Van Morrison) 3:03
He Ain't Give You None (Van Morrison) 5:13
TB Sheets (Van Morrison) 9:44
from Blowin' Your Mind! 1967
Although Van Morrison's first solo album is remembered for containing the immortal pop hit "Brown Eyed Girl," Blowin' Your Mind! is actually a dry run for his masterpiece, Astral Weeks. Songs like "Who Drove the Red Sports Car" look to that song cycle, even as "Midnight Special" nods to Morrison's R&B past. But it's the agonizing "T.B. Sheets" -- all nine-plus minutes of it -- that dominates this record and belies its trendy title and pop association. "T.B. Sheets" takes the blues and reinvents it as noble tragedy and humiliating mortality. It's where Van Morrison emerges as an artist...

One of the premier blues bands of the 1960s, influential on groove-laden rockers ranging from ZZ Top to Phish.  / A hard-luck blues band of the '60s, Canned Heat was founded by blues historians and record collectors Alan Wilson and Bob Hite. They seemed to be on the right track and played all the right festivals (including Monterey and Woodstock, making it very prominently into the documentaries about both) but somehow never found a lasting audience.
Canned Heat
Rollin' and Tumblin' (Muddy Waters) 2:03
Evil is Going On (Willie Dixon) 2:21
Catfish Blues (Robert Petway) 6:48
from Rollin' And Tumblin' 1967

Briefly burning blues-rock trio wowed critics while dancing about the 1960s. / When guitarist Mike Bloomfield left the Paul Butterfield Blues Band in 1967, he wanted to form a band that combined blues, rock, soul, psychedelia, and jazz into something new. The ambitious concept didn't come off, despite some interesting moments; maybe it was too ambitious to hold all that weight. Bloomfield knew for sure that he wanted a horn section in the band, which he began forming with a couple of friends, keyboardist Barry Goldberg and singer Nick Gravenites.
The Electric Flag
Killing Floor  (Chester Burnett / Howlin' Wolf) 4:10
Groovin' Is Easy ((Nick Gravenites) 3:03
Over-Lovin' You (Michael Bloomfield / Barry Goldberg) 2:10
She Should Have Just (5:01)
from A Long Time Comin' 1968
Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival...

Ambitious and acclaimed West Coast psychedelic band that fused hard rock to jazz, blues, country, and folk. / Spirit was a highly regarded rock band that achieved modest commercial success, charting 11 albums in the U.S. between 1968 and 1977. Founded in Los Angeles in 1967 by musicians who had a mixture of rock, pop, folk, blues, classical, and jazz backgrounds, and who ranged in age from 16 to 44, the group had an eclectic musical style in keeping with the early days of progressive rock; they were as likely to play a folk ballad featuring fingerpicked acoustic guitar, a jazz instrumental full of imaginative improvisation, or a driving rhythm tune dominated by acid rock electric guitar playing.
The Moving Van (Randy California) 1:56
Now or Anywhere (Mark Andes / Randy California / Ed Cassidy / Jay Ferguson / John Locke) 4:39
Model Shop II (Clear) (Randy California) 4:08
The Rehearsal Theme (Randy California) 1:11
from Model Shop Rec. 1968 (2005)
...Model Shop gathers together in one place Spirit material previously spread across several albums, but it is only a minor addition to their catalog and should mark the end of the exploitation of this portion of their music.

Sixties pop diva-turned-avant jazz singer Julie Driscoll was born June 8, 1947 in London. As a teen she oversaw the Yardbirds' fan club, and it was the group's manager and producer Giorgio Gomelsky who encouraged her to begin a performing career of her own. In 1963 she issued her debut pop single "Take Me by the Hand," two years later joining the short-lived R&B combo Steampacket alongside Rod Stewart, Long John Baldry and organist Brian Auger...
Julie Driscoll, Brian Auger and the Trinity
A highly respected jazz rock organist since the 60s. / Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra...
Tropic of Capricorn (Brian Auger) 5:29
Czechoslovakia (Julie Driscoll) 6:19
Take Me to the Water (Nina Simone) 4:16
Light My Fire (The Doors cover) 4:20
from Streetnoise 1969
The final collaboration between singer Julie Driscoll (by that time dubbed as "The Face" by the British music weeklies) and Brian Auger's Trinity was 1969's Streetnoise -- it was an association that had begun in 1966 with Steampacket, a band that also featured Rod Stewart and Long John Baldry. As a parting of the ways, however, it was Trinity's finest moment. A double album featuring 16 tracks, more than half with vocals by Driscoll, the rest absolutely burning instrumentals by Trinity. (Auger on keyboards and vocals, Driscoll on acoustic guitar, Clive Thacker on drums, and Dave Ambrose on bass and guitars.)

Before becoming a solo star, Rory Gallagher fronted the blues-rock trio Taste, which experienced reasonable success in the U.K. in the late '60s and early '70s. Taste was molded very much on the model of Cream, adding some folk, pop, and jazz elements to a blues-rock base, and featuring a virtuosic guitarist.
Blister on the Moon (Rory Gallagher) 3:27
Sugar Mama (Rory Gallagher / Traditional) 7:15
Born on the Wrong Side of Time (Rory Gallagher) 4:01
Same Old Story (Rory Gallagher) 3:33
from Taste 1969
The fact that they, like so many late-'60s contemporaries, were molded in the image of Cream has often been cited to diminish the stature of Irish power trio Taste. But, all things being equal, it's impossible to dismiss their fine eponymous debut based solely on obvious source of inspiration, nor, by any means, the singular talents of the band's creative and performing focal point, vocalist and guitarist Rory Gallagher -- barely 20 years of age upon its release in 1969...

The greatest cult figure in rock history, he created a whimsical, haunting brand of psychedelia both on his own and as the early leader of Pink Floyd. / Like a supernova, Roger "Syd" Barrett burned briefly and brightly, leaving an indelible mark upon psychedelic and progressive rock as the founder and original singer, songwriter, and lead guitarist of Pink Floyd. Barrett was responsible for most of their brilliant first album, 1967's The Piper at the Gates of Dawn, but left and/or was fired from the band in early 1968 after his erratic behavior had made him too difficult to deal with (he appears on a couple tracks on their second album, A Saucerful of Secrets). 
Syd Barrett
Baby Lemonade  (Syd Barrett) 4:11
Love Song (Syd Barrett) 3:05
Dominoes (Syd Barrett) 4:09
Rats  (Syd Barrett) 3:02
from Barrett 1970
On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance...

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements. 
David Bowie
The Width of a Circle (David Bowie) 8:12
She Shook Me Cold (David Bowie) 4:17
The Man Who Sold the World (David Bowie) 4:01
from The Man Who Sold the World 1970
Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, was the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the second time Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music itself is bizarre, with Bowie's weird, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World -- it is almost all hard blues-rock or psychedelic folk-rock -- but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums.

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