Somethin' Else

Kathi McDonald : Freak Lover and Insane Asylum
From Insane Asylum (Capitol, 1974)






Sometime get the blues is good. Could you imagine Janis Joplin jammed with Sly? Damned! Not so easy... Insane Asylum is un poco hard to find. And surely a missing part for everybody who loves Janis, Betty, Rolling Stones and Sly.

In the early 70s several obscure girls were around the bands anybody knows nowadays. Betty Davis is an exception. Ruth Copeland is maybe better known than Kathi McDonald. Therefore, each of these girls were playing RnB, psychedelic and funk. Kathi performed with people such as Ike & Tina (Come Together), Janis Joplin, Freddy King, Rolling Stones (Exile On Main Street) and Betty Davis. In other words, listen carefully her voice and you'll know the quintessence of her discography. We usually post anything here in rock music, even if you consider the Buddy Miles Express as rock music. In fact, we still loving Sly Stone and above all psychedelic soul rock.

That's why I propose these tunes. Papa John Creach on violin give me the impression to listen to Sid Page when he was playing on Small Talk, release in 1974. Strange! It is still a question without answer, why Sly demand to Sid perform on the Family Stone. As strange as why Sly never been credited on Insane Asylum.

Homenaje to William Blake

David Axelrod: Holy Thursday and The Smile
From Song Of Innocence (Capitol, 1968)

Unfortunaletly Yazid Manou, great specialist in Jimi Hendrix, can't really help me. Saying to me the 'afro-rock' is not his speciality. Last show we tried with a friend whose got a cool vintage to broadcast original tunes and covers. But the day after I discover a tune that could indirectly bring together Demon Fuzz to Hendrix, more precisely Demon Fuzz to Buddy Miles... former Band Of Gypsys's drummer... I can't tell you more about Demon Fuzz, except what Paddy Corea (ex-Demon Fuzz) sent me last week, encouraging me to check out this both sites Canouanmusic or Demonfuzz-paddycorea for more info.

"Yes we toured with every body in those days. We toured with Moody Blues, Yes, Ginger Baker, Mungo Jerry, Coloseum, Who, and lots of others. There is a hard core of Afro-Rock followers in UK and a few other places in the world. I get mail from germany, phillipines, England, France and a few right here in the USA. I think Demon Fuzz stands well in the 35 years since we made our music.
thanks bye
Paddy Corea"

Two weeks ago, Egon, Stones Throw Records, answered my email telling me he was listening to Serge Gainsbourg a lot. After the post about Gainsbourg and Jean-Claude Vannier, it give me the idea to post something about David Axelrod. Song Of Innocence is not only a masterpiece but was an album which influence him for Histoire de Melody Nelson and L'Enfant Assassin des Mouches. But I can't really assure...

Tu t'appelles comment ?

Serge Gainsbourg: Melody
From Histoire de Melody Nelson (Philips, 1971)

Jean-Claude Vannier: Je M'Appelle Geraldine
From L'Enfant Assassin des Mouches (reed. Finders Keepers, 1972)





I usually post anything about french scene. But we like here bring together two albums. Sometimes we do something in a subjective way. So back in France with two greats musicians well-known all around the world. Like everywhere in the world, 1971 is an exciting year in France. Recently, friends were speaking about Dashiell Hedayat. This year, while Gong was recording the album 'Camembert Electrique', with Gong members Dashiell was the author of his second album called 'Obsolete'. An excellent one above all known for the strongly psychedelic rock tune Chrysler Rose. Listen this tune on his myspace page. There's many others exemple to describe what was rock scene in France this year. I read they were influenced by british rock of that time, groups such as King Crimson. But with listining this both album, Histoire de Melody Nelson and L'Enfant Assassin des Mouches, I feel like I was listening to Electric Prunes, David Axelrod's Song of Innocence, The Beatles's Sgt. Peppers Lonely Hearts Club Band or Frank Zappa.

The entire Jean Claude Vannier's album is inspired by his work he did with Serge Gainsbourg in 1971. The tune 'Je M'Appelle Geraldine', availabe on L'Enfant Assassin des Mouches, is taken from Point d'Interrogation recorded in 1966. It's a super-rare 7" EP from this radio show on France Inter, french national public radio.

---

Sorry. I try to post mp3s on divshare.net but I don't understand what the thing I could do with the code when I click 'Generate A New Key'. Well sometimes divshare links is right, sometimes it's wrong, so I prefer let yousendit link.

roots of assagai's rock

Jade Warrior: Telephone Girl and Barazinbar
From Jade Warrior on Vertigo (1971) and Released on Vertigo (1971)

Oliver, I read your advise. I'll use divshare for the next post. Thanks for the add.

When they came out in London in the early 70s, many of black musicians were received by british rock scene. Fela Kuti worked with Ginger Baker near 1971. It's difficult to assure that the Jimi Hendrix's Jam 'Room Full of Mirrors' with guest percussionist Rocki Dzidzornu, or the Woodstock repetition - Diamonds in the Dust - are one of the first Afro-rock recording. But we can imagine that the Band-Aid project with Arthur Lee, Hendrix, Steve Winwood and African percusisionist Rebop was an official request. In 1970 Steve Winwood appeared on the Ginger Baker's Air Force [youtube] first album. This tune recall me Demon Fuzz. Anyway, Remi Kabaka, also known to have joined Steve Winwood and Abdul Lasisi Amao for the Third World project, played drums on Ginger Baker's Air Force.

Originally written by Jade Warrior, the tune 'Telephone Girl' introduce Assagai's first album. Heavy fuzzy sounds like a funky afro rock stuff. The instrumental 'Barazinbar' is a fifties minutes one which I think was extremely well arranged by Assagai. See the Captain Planet's post to listen 'Baranzinbar' covered by Assagai. All Jade Warrior's members are credited to the Assagai second album 'Zimbabwe'. Cover art was designed by Roger Dean, same designer for Osibisa and Budgie. Just see this interesting similitude between this both cover art Osibisa and Zimbabwe. I read on this site that Assagai was the only 'African band' signed by Vertigo. The site adds "Jade Warrior put together some demonstration material, shopped it around, and were signed to a record deal with Vertigo in 1970 or 1971. According to Glyn Havard, this signing was due in part to the fact they were being managed by Mother Mistro, the same company which was managing the "Afro-rock" band Assagai which was being actively pursued by Vertigo."

While Jade Warrior was recording his first album they met future Assagai's members Dudu Pukwana, Louis Moholo, Mongezi Feza and Fred Coker. They all came from avant-garde and afro-jazz scene. With the worlwide success of Osibisa first album, also recorded at Air Studios, London, and released in 1971, produced by Tony Visconti, the concept was to put together rock and afro-jazz stuff.

Peruvian Scene in the 70s

Traffic Sound: Chicama Way and Meshkalina
Both extracted from Traffic Sound (1970) and Lux (1971)
See also Yellow Sea Years 68-71 (Vampisoul, 2005)

From Peruvian scene in the seventies, Traffic Sound were contempories of groups such as Black Sugar, We All Together and Telegrah Ave. As well as Edip Akbayram's group in the 70s Turkish scene, they were awared with British Rock. I found on youtube a documentary entitled Retrospectiva del Rock Peruano en dos partes produced by Ceclia Valenzuela. She's reporter on peruvian television, Frecuencia Latina. Check out part 1 and part 2.

Traffic Sound appeared in this cultural and political context. Fietta Jarque wrote: "the powerful outcome of 1968 was the driving force for change for change and rebellion in the world. The hippie aura and psychedelia were a distinct brand, their songs spoke of colorful visions and lysergic experiences. Meanwhile, in October of that year, a military coup ended the democratic system in Peru and a left-wing, anti-oligarchic and anti-american dictatorship was established: the self-proclaimed Revolutionary which lasted eleven years."

Heavy Heavy Heavy!

Buddy Miles Express: Train
From Expressway To Your Skull (Mercury, 1968)

Funkadelic: I Bet You
From Funkadelic (Westbound, 1970)

At the beginning, I was thinking to post something about "You're the One (That I Adore)" performed by Buddy Miles Express. Because the tune remind me another track of Sly Stone "Time". First minutes sung in "You're The One" seems to be near of "Time / Needs another minute, at least / Take your time / But you've got a limit". By moment I wonder if Buddy Miles haven't get influenced Sly Stone during this year. Maybe "You're the One (That I Adore)" have influenced "You're The One" performed in 1970 by the Little Sisters in the Stone Flower Production. I guess Buddy Miles on the drums completly stoned in the sleeve of Riot but he's still not credited.

Expressway To Your Skull is the first album of Buddy Miles Express, second is Electric Church and the third We've Go To Live Together is right a remaining of "Everybody People" that the Band of Gypsys played during the Live in January 1970. I believe it was in 1968 that Buddy Miles Express, Cream and Jimi Hendrix Experience were touring in concert in the worldwilde.

Heavy drums in "Train" is an equivalent sound drums played by Ramon Tiki Fulwood. Surely Expressway To Your Skull's album, as well as Band Of Gypsys's project were highly recommended by George Clinton when he turned into the first Funkadelic album. After the death of Jimi Hendrix, he asked Eddie Hazel to find an equivalent guitar form. And the sleeve in the direct influenced of The Chambers Brothers's New Generation album. Or "vice-versa". A sort of generation of mandala sleeves. By the way, get the heavy drums in mind sounded with psychedelic fuzz.

re-fresh

The Soul Lifters: Hot, Funky, and Sweaty
From 7"
also available on the comp. Hot, Funky and Sweaty (Soul Patrol, 1999)

Chicago: Introduction
From Chicago Transit Authority (Rhino, 1969)

+ Sly and the Family Stone: M'Lady
From Live at the Fillmore East (Epic, 1968)

New reedtion of Fresh, Stand and others album (+ bonus tracks) will be released soon in 2007. The album Fresh has already been released in two different versions and some fans think that the new release of Fresh could be the third... My favourite version is the second. "Epic/Legacy will on March 20 unveil remastered editions of Sly & the Family Stone's first seven studio albums, each with several bonus tracks and new liner notes. Not included in this batch are group leader Sly Stone's 1975 solo album High on You or the Family Stone's final studio set, 1979's Back on the Right Track." from Billboard.com

Two compilations propose the track "Hot, Funky, and Sweaty" by The Soul Lifters. The first I buy is The World's Rarest Funk 45s releases on Quantic and the other is Hot, Funky and Sweaty on Soul Patrol. There's an other covered version of this tune, see also the other compilation Hot, Sweaty and Funky release on Hard Soul Records in 2005. Sorry for the lack of information about The Soul Lifters, I forgot The World's Rarest Funk 45s, which is more detailed, in a radio station based in Paris where actually I do a training course... (That's why I alert you for some "Interruption").

If you're a big fan of Sly Stone, this tune could not be a surprise for you. Myself I've been very very surprised when I listened the track 'Mama Lolo" by The Entertainers here (check out, Brent recently update it!). As Robert said in the comment: "The Entertainer’s 45 is exactly the same as “Introduction” on the Chicago Transit Authority album". Chicago was a band musicaly familiar/similar to Electric Flag, Blood, Sweat & Tears, Buddy Miles Express, Paul Butterfield and Mike Bloomfield. Anyway, before the debut of Chicago, before the recordings of Stand and Electric Ladyland, and while Buddy Miles Express was recording the excellent album Expressway to Your Skull, Sly and The Family Stone was opening the show at the Live at The Fillmore East in 1968, Jimi Hendrix played next.

Afro Fuzz Psych Sound

Demon Fuzz: Past Present And Future and Disillusioned
From Afreaka! (Dawn(UK)/Janus(US), 1970)

Fu@# ! Yousendit change his link's properties. Please, click on the link to get the tracks. I'll see how to settle with later.

Sorry, didn't be there for a time, I was searching some good tunes for you. Above all, I wanted to react on what cHUCk dA fONk tell me few days ago "Adlib, more cowbells please!". By chance I find Demon Fuzz Afreaka!'s album. Perhaps you discover it with djmaru's great post. --- Just djmaru wrote some errors, I forgive him ;) ---

"Released in November 1970, their sole album, the extraodinary Afreaka!, saw them mash up and master various musical genres - stoned psychedelic soul, Afro jazz, blackacid rock/blues, dub-heavy funk, free festival-era progressive rock. (...) But despite the heady nature of their rampant musical cross-pollination, and the notwithstanding a vigoros live schedule that saw them participate in many of the leading UK underground of the era. (...) In common with various other rock-oriented, British black music acts of the time (Black Velvet, Assagai, Cymande, Noir), the band faded from view almost before anyone had noticed them, leaving the lighter, more upbeat Osibisa as the token UK-based act to introduce African rythms into the mainstram music scene." (by David Wells, June 2005)

Enjoy !!!

Freak is her middle name

Betty Davis : If I'm In Luck I Might Get Picked Up and Game Is My Middle Name
From Betty Davis (mpc ltd., 1973)

In 1967, while the group was performing at the Electric Circus, she proposed to the Chamber Brothers to include her "Uptown in Harlem" tune for their next The Time Has Come's album strongly influenced by Are You Experienced. Then, you certainly know her story with Miles Davis. According to James Maycock, while Betty was searching label in uk, Michael Carabello, Santana's percussionist, propose her to join him during Santana 3 studios sessions. Besides, Tower of Power horn section and Greg Errico, Sly Stone's drums, are also credited. So while Family Stone's Riot session in 1971, Betty stroke up friendship with Stone's members, Gregg Errico and Larry Graham, and also with The Pointer Sisters. Kathi McDonald and Sylvester feat. in her first album.

Lyricism and rock not so bad + Radio Citizen pt. 2

Jef Lee Johnson feat. Nathalie Richard : Le Chien
From Thisness (Hope Street Label, 2005)

Lightnin' Rod : Doriella Du Fontaine
From ?

Radio Citizen : The Prophets
From Berlin Serengeti (Ubiquity, 2006)

In 1970, get closing with pop culture, the French songwriter Léo Ferré has a project with Hendrix. At last, Léo Ferré achieved it with John McLaughlin on guitar and Billy Cobham on drums. "Le Chien" ('The Dog' in english) is actually cover by Jef Lee Johnson. It's amazing to listen how the tune sounds like "Doriella Du Fontaine". Another project with Hendrix and Lightnin' Rod from the Last Poets, a proto-hip hop band. "Doriella" was produced by Alan Douglas who was near the guitarist in the late 1969. The third tune is about Radio Citizen first album. The group comes from Berlin and led by Niko Schabel. Schabel already perfomed with Express Brass Band, Poets o Rythm, Jojo Kuo and Last Poets.

Elephant's Memory

Elephant's Memory : Takin' A Walk and Hot Dog Man
From Elephant's Memory (BMG/Collectors' Choice Music, 1972)

John & Yoko Plastic Ono Band : Sunday Bloody Sunday
From Some Time in New York City (Capitol, 1972)

You may known this band if you've already visited diddy wah or by listening Some Time in New York City's John Lennon album, featuring Plastic Ono Band and Elephant's Memory. Besides you can see on youtube John and Yoko perfomed with Elephant's Memory at Mike Douglas Show in 1972 singing an irish-folk track "A Hippie From New York City".

According to Richie Unterberger liner notes Elephant's Memory was a similar band to Blood, Sweat and Tears, Chicago, Sly & the Family Stone, The Ides of March and the Mothers of Invention. When I first listened to the Live Jam on Some Time In New York City and "Sunday Bloody Sunday", I could never imagine before John Lennon was equally searching a certain groove. Yet still today Some Time in New York is his more political work and the less appreciate of purist reviewers and Elephant's Memory is still an obscure band.

Don't let the dragon eat your mother

John McLaughlin : Marbles and Dragon Song
From Devotion (Douglas, 1970)

Feat. : Buddy Miles (drums, percussion), Jerry Goodman (violin), Billy Rich (bass) and Larry Young (organ, electric piano)

In the last post you can listen his new release, here this post is about a classic of Alan Douglas production. It is not my favourite album, but i'm so curious about these jazz-rock pioneers, and in particularly the contemporaries with Miles Davis's Bitches Brew album, Jimi Hendrix acid (jazz) rock projects (Nine to the Universe) and Tony Williams's Lifetime band, so I couldn't go through John McLaughlin's Devotion album. Moreover, Larry Young, on electric piano, was involved on each sessions. See also Larry Young's Fuel on earfuzz.

Before he featured on several jazz-rock sessions in New York, during the mid-sixties in UK McLaughlin was jamming with the Graham Bond and Jack Bruce. Here Marbles is certainly the most known of this album. In 1972, Buddy Miles and Carlos Santana, before he met McLaughlin, played together Marbles in a Santana's style.

When he was recording Devotion, McLaughlin just kept Lifetime and Bitches Brew's sessions, soon he will perform for the Mahavishnu Orchestra. Devotion represent a period of transition in his discography. It's sounds like Hendrix when he was jamming with Larry Young and McLaughlin's solo at the end of "Right Off" (see A Tribute to Jack Johnson).

Different strokes for different hopes

Gypsy Sun and Rainbows : Message To Love
From Live At Woodstock (MCA, 1997 - 1969)

Sly & The Family Stone : Everyday People
From Stand! (Epic, 1969)

Rotary Connection : Sunshine Of Your Love
From Songs (Cadet, 1969)

War : Slippin' Into Darkness
From All Day Music (Rhino, 1971)

Arthur Lee, Arthur Taylor Porter, led the band Love formed in 1965. He was deeply influenced by the Byrds and the psychedelic scene from the San Francisco bay area. In 1967, Love released Forever Changes, which is consider as a masterpiece. Yesterday Junior posted on Earfuzz a good tribute about Arthur Lee & Love with some tracks of this album.

This post is entitled "Different strokes for different hopes" because I remember that Love was one of the first multi-racial band. That's why you can hear Gypsy Sun and Rainbows, Sly & The Family Stone, Rotary Connection and War. Each of them incarned at the time, and perhaps till today, the dream that everybody gotta live together. By the way, I like the psychedelic soul rock scene and be sure one day I'll get the two following album. False Start, their last album, Arthur Lee was influenced by Jimi Hendrix, and also, Vindicator released in 1972. Originally Hendrix envisaged to form a supergroup called Band Aid with Arthur Lee, Steve Winwood and the Nigerian percussionist Rebop Kwaku Baah. Perhaps to try a new direction psychedelic afro-rock.

Nouvelle Vague

Nouvelle Vague : Fade to Grey
From Bande à Part (Pias, 2006)

L7 : Andres
From Hungry For Stink (Slash/Reprise, 1994)

Le groupe revient avec un nouvel album "Bande à Part" cette fois-ci très inspiré des caraïbes entre 1940 et 1970. Autant le premier album reprend Bauhaus, Siouxsie, Echo & the Bunnymen, celui-ci va puiser dans les origines du punk anglais. D'où des adaptations colorées virant parfois au ska/rocksteady, reggae, le calypso de Trinidad, la salsa cubaine, le vaudou haïtien, jusqu'aux rythmes brésiliens.
'Fade to Grey' est à la base un morceau new wave du groupe Visage qui fut un véritable carton en France au cours de l'année 1980, ici l'athmosphère rendue par Nouvelle Vague est plus "relâchée", moins dansant mais toujours aussi envoûtant. Le titre original me fait d'ailleurs penser, je ne sais pourquoi à 'Andres' de L7, c'est vrai qu'il y a ressemblance, mais c'est peut-être plus pertinent de rapprocher les deux morceaux pour en faire bootleg. Peu importe, la reprise 'Don't Go' de Yazoo ici façon quasi brésilienne montre aussi le parti pris de l'album qui ne semble avoir été conçu pour faire dancer les clubs mais plutôt dans le but de contribuer à la reconnaissance du genre post punk des années 1980 pour enfin l'inclure dans le gotha des "vraies chansons".


Visage - Fade to Grey

Syd Barrett/The Pink Floyd London '66 - '67

Un astre s'éteint

Membre fondateur de Sigma 6 en 1965 puis de Pink Floyd Syd Barrett sera définitivement écarté façon "Brian Jones" le 6 avril 1968 au détriment du guitariste David Gilmour. Son nom sera associé aux deux premiers albums des Floyd The Piper At The Gates Of Dawn et A Saucerful of Secrets. Suit deux albums solo et les contributions de Robert Wyatt Hugh Hopper et Mike Ratledge de Soft Machine. Syd Barrett s'est éteint à l'âge de 60 ans vendredi et son oeuvre issue de sa collaboration avec Pink Floyd, à la naissance du groupe, continue d'inspirer les nouvelles générations.

(Voir aussi le portrait de Pink Floyd par Bruno Lesprit dans Le Monde)

Pink Floyd : Jugband Blues
From A Saucerful Of Secrets (Columbia, 1968)

Pink Floyd : Astronomy Domine
From The Piper At The Gates Of Dawn (Capitol, 1967)

Pink Floyd : Arnold Layne
From LP Arnold Layne (1967)

Janis Joplin - Summertime (Live)