Rare material from John Fahey is set to be exhumed on the upcoming box set ‘John Fahey: Your Past Comes Back to Haunt You (The Fonotone Years 1958-1965)’.
Very much a neglected figure, John Fahey is extremely important to the evolution of American music. An important figure in the blues and folk revival, he helped rediscover performers long since thought lost to music.
His own recordings were an extraordinary mixture of technical virtuosity and emotional depth.
Sadly passing away in 2001, some rare elements of the guitarist’s back catalogue have now been
Releasing his debut album ‘Blind Joe Death’ in 1959, the guitarist seemed to arrive fully formed.
However he did make earlier recordings, laying down instrumental tracks for the Fonotone label.
Issuing in tiny quantities, the songs were pressed onto 78RPM discs. Unusual even for the time, the Fonotone label handled a series of John Fahey tracks between 1958 and 1965.
It is this period which forms the spine of the new box set (via Tiny Mixtapes). ‘John Fahey: Your Past Comes Back to Haunt You (The Fonotone Years 1958-1965)’ promises countless rare material, including some cuts which have never been released on any format.
Dust-To-Digital are to handle the release, which will contain a total of five CDs. Joe Bussard controlled the Fonotone label, and his archives have proved to be an invaluable addition to the Fahey discography.
Containing 115 tracks, the upcoming box set is edited by fellow guitarist – and Fahey collaborator – Glenn Jones, with the full approval of the late musician’s estate.
Alongside a host of musical rarities the upcoming box set also includes an 88-page book with essays and analysis, reproductions of those Fonotone labels and rare photographs donated by Jane C. Hayes — Fahey’s mother.
For more on the project click HERE.
Actor Penn Badgley has been cast as Jeff Buckley in the forthcoming biopic about the late singer-songwriter, according to reports.
Gossip Girl star Badgely will portray Buckley in the forthcoming film Greetings From Tim Buckley, beating touted names that included James Franco and Robert Pattinson.
The film follows a young Buckley as he grapples with the overbearing legacy of his
musician father Tim Buckley, leading up and culminating with his classic 1991 performance of his father’s songs, according to the Huffington Post.
Buckley, who became a musical hero in his own right with the 1994 album ‘Grace’, drowned in 1997 while swimming in the Wolf River in Tennessee.
Badgley, meanwhile, is currently portraying the character Dan Humphrey in hit teen drama Gossip Girl. His previous movie credits include John Tucker Must Die, The Stepfather and Easy A.
Original Source :- www.uncut.co.uk
Despite nearly featuring in my “Sunday Jazz” series Julie London wasn’t really a jazz singer, but she possessed a definite jazz feeling and many of her finest albums (such as Julie Is Her Name and Julie…At Home) feature small-group jazz backings.
In a similar vibe her “About The Blues” wasn’t really aimed at the true “blues” market but was aimed at the 1950s pop market, but it may just be her best orchestral session. Since downbeat torch songs were London’s specialty, the album features an excellent selection of nocturnal but classy blues songs that play to her subtle strengths instead of against them. So as she sings below she had the view that “I Gotta A Right To Sing The Blues”
Julie usually included a couple of new songs in with a selection of standards, and her husband, Bobby Troup, wrote two excellent numbers for the album. One of them, the emotionally devastating “Meaning of the Blues,” is the album’s highlight, and was turned into a jazz standard after Miles Davis recorded it the same year for Miles Ahead.
A Super Deluxe Edition of Nirvana’s seminal 1991 album ‘Nevermind’ will be released onSeptember 19 – 20 years after the original came out.
Comprising four CDs and one DVD, the Super Deluxe Edition will contain previously unreleased tracks, rarities, B-sides, alternate mixes, rare live recordings and BBC radio appearances.
The DVD will be made up of an entire unreleased Nirvana concert.
‘Nevermind’ has sold over 30 million copies in the two decades since its release. Produced by Butch Vig, it was the second studio album from Nirvana, the iconic grunge band made
up of the late Kurt Cobain, Krist Novoselic and Foo Fighters mainman Dave
The 20th anniversary of ‘Nevermind’ will also be marked by a series of as-yet-unannounced events.
‘Nevermind’ climbed to Number One in the US Billboard album chart, but only reached Number Seven in the Official UK Albums Chart.
Original source www.uncut.co.uk
I am sure I have posted on this album before, however, given it is a real favourite of mine it’s always worth another listen.
Combining Forcione’s undisputed talent with the outstanding ability of Sabina, this recording is breathtaking in sound (as you would expect from a quality label like Naim which is up there with Linn) and performance quality.
Antonio teamed up with Sabina to produce a stunning album of jazz standards, beautiful original compositions and rearranged pop classics.
Sabina Sciubba is an international award-winning singer who has mesmerised audiences all over Europe with her unparalleled brilliance. Together with Antonio, these two artistic soul mates cast a musical spell whilst they create a stunning natural work, including a reworking of Lucio Dalla’s homage to the great opera tenor “Caruso”.
Their first and only album together is a rare sonic gem. A musical sensation which envelopes the listener with a rare genius as can be heard in this their take on Stevie Wonder’s “Visions”
Despite its modest presentation, ‘Meet Me In London’ is Naim’s best selling recording to date.
The song was written in reference to Salford, then in Lancashire (now in Greater Manchester), England, and the place where Ewan MacColl was brought up. It was originally composed for an interlude to cover an awkward scene change in Ewan MacColl’s Salford-set, 1949 play Landscape with Chimneys, but with the growing popularity of folk music the song became a standard.
The song paints an evocative yet ultimately bitter picture of industrial northern England, and presages to some extent the Angry Young Man school of the 1950s.
When MacColl first wrote the song, the local council were unhappy at having Salford called a dirty old town and, after considerable criticism, the words of the song were changed from “smelled a Spring on the Salford wind” to “smelled a spring on the smoky wind”.
The Spinners made the first popular recording of the song and they sang “Salford wind”. This was hardly surprising as the lead singer on the track was Mick Groves, a Salfordian.
The song was therefore written about an English town; but because of the song’s later association with The Dubliners and The Pogues, many people tend to think of it as an Irish song, and as such, in Ireland the lyrics are popularly thought to refer to Dublin or Derry – a counter-part to the latter being Phil Coulter‘s “The Town I Loved So Well“.
My favourite version is by Rod Stewart.
For more information click HERE
Not the first time it has been used in an advert, here is someting else for you to get your teeth into!
Here is the original video for the single release.
Vincent Eugene Craddock (February 11, 1935–October 12, 1971), better known as Gene Vincent, was an American musician who pioneered the styles of rock and roll and rockabilly. His 1956 top ten hit with his Blue Caps, “Be-Bop-A-Lula“, is considered a significant early example of rockabilly.
Gene Vincent’s 1970 self-titled album (shown above), later released in the UK the following year under the title ”If Only You Could See Me Today” was the first of a pair of records released by Kama Sutra Records in 1970. Recorded at the legendary Sound Factory recording studio in Hollywood, CA just a year before his untimely death in 1971.
The album was undoubtably an attempt to cash in on the roots-rock surge of the late 60s and early 70s. Just as Elvis Presley, Ricky Nelson, Link Wray, and the Everly Brothers were busy updating their images and fashioning new sounds for the changing times, so was Gene Vincent.
Fortunately, Gene and his band, which featured L.A session ace and Kaleidoscope co-founder Chris Darrow as well as not one, but three members of the infamous Sir Douglas Quintet (Harvey Kagan, Johnny Perez, and Tex-Mex Farfisa fanatic Augie Meyer), were able to deliver an excellent record that expands upon Gene’s classic sound while simultaneously creating a melting pot of numerous roots-rock styles; with touches of Cajun, Tex-Mex, Swamp Rock, Soul, R&B, Country, and Folk.
The first track, a cover of Mickey Newbury’s (also see earlier post on Mickey by clicking HERE) “Sunshine”, is quite possibly the finest version of the song that’s been recorded to date.
When Gene sings “Sunshine, you may find my window/But you won’t find me…Sunshine, as far as I’m concerned don’t be concerned with me,” his lazy laid-back delivery truly embodies the voice of the character in the song–a man who’s tired of struggling to keep out the darkness and has resigned himself to a life of depression and isolation. Almost entirely gone is the rollicking rockabilly style of his younger years, in its place is a laid back yet emotionally expressive vocal style.
Unjustly dismissed upon its initial release, mostly ignored by long-time fans and deemed a failed attempt at a comeback by much of the rock press of the era, perhaps the time is right for him to receive the credit due for what is not only an excellent time capsule of funky early 70s roots-rock sounds, but actually a really great album with an interesting and varied sound that could’ve and should’ve taken Gene’s career in a new direction had years of hard livin’ not taken him away from us too soon.
While not extremely pricey, original vinyl copies of Gene Vincent can be a tad tricky to come by, however, Rev-Ola has issued a cd compilation entitled “A Million Shades of Blue” that consists of Gene Vincent as well as the Kama Sutra follow up Day the World Turned Blue.
Original source is from the great blog The Rising Storm
Haven’t had much reggae here recently so here is Marcia Griffiths and her version of one of Ewan MacColl’s greatest songs.
The song was written for Peggy Seeger who later became his wife and is cherished as a MacCall song devoid of politics.
The song entered the pop mainstream when it was released by Peter, Paul and Mary (Album: See What Tomorrow Brings, 1965), and was later recorded by Roberta Flack, in 1972. The Flack version was much slower than the original: an early solo recording by Seeger, for example, clocked in at two and a half minutes long, whereas Flack’s is more than twice that length.
MacColl reputedly hated almost all the recordings of the song, including Flack’s.
His daughter-in-law is quoted as saying:
- “He hated all of them. He had a special section in his record collection for them, entitled ‘The Chamber of Horrors’. He said that the Elvis version was like Romeo at the bottom of the Post Office Tower singing up to Juliet. And the other versions, he thought, were travesties: bludgeoning, histrionic and lacking in grace.”
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