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geology mixes music

1967 Part 2

so here is my 1967 granite mix. actually it’s the 1st one cos i’m planning a 2nd one. this one contains tracks that largely fit into the rock/pop bracket that could at least potentially have charted and most of them did. i’ve tried to make it a varied mix. some of the tracks i heard at the time (i was 13 that year) but there’s quite a few which i didn’t get to hear until later on. a couple of them i’d never heard until i thought of putting them on the mix.

i mentioned in the last post that musically 1967 was a crucial year for me. let’s face it i could pick out any year around then and say the same thing and put together many more mixes. the crucial thing i’m talking about is what’s emphasised in this mix. it was the year when afro-american artists came to the forefront. these artists had been around for a while especially if you’d been into early rock’n’roll or been a blues fanatic. the artists that had taken centre stage in the british music scene had come out of those people but they had then taken over and dominated and to be fair in their turn influenced the afro-american artists. but in 1967 things turned around and it seemed quite sudden that there was music that you could dance to without looking stupid. not that i did then. well if i did i don’t remember it.

i know that sergeant pepper’s and the previous year’s pet sounds were massively influential and i was certainly still listening to some british and white american bands but they didn’t get to me like the music coming out from detroit, memphis, muscle shoals etc

so anyway the 2nd mix will be any type of music that was released in 1967 and probably won’t have much that could have charted in it.

i’ll write a bit as usual with added links about the tracks on the mix. the setlist is below all this text and that’s where you’ll find the button that plays the music.

actually i haven’t got a lot to say about most of these artists. there’s not really that much point about re-hashing information gleaned from the web and i haven’t got a vast library of literature on the subject and the library’s been closed for weeks now. but i’ve gathered together a number of clips where i could of archive footage from 1967 or around then. here’s the one for booker t and the m.g.’s

i wasn’t aware at the time of the late sixties of the electric prunes but i’ve put them in the mix as something a bit different and they were ground-breaking in their own way.

my brother or my sister (possibly both) had a nina simone album back around this time so she was definitely one of the artists that i’m talking about above.

the incredible string band were more in my life a few years after in the early 70s. i can’t say i was ever that much into them but most people i knew then who were trying to play music seemed to be imitating them and could play many of their songs. i never learnt any of them but often played along to other people playing them.

and it was a few years after the late sixties that i first started listening to james brown. i knew the name from the temptations song sweet soul music where he was denoted as the king of them all. it always seemed strange to me that he was the king and yet his music wasn’t that widely heard. he didn’t actually get into the uk top ten until 1986 (and that was the only time he did) although he did get to number 13 in 1966 but i was only 12 and i missed it.

and similarly i was unaware of the velvet underground until the early 70s.

but tramp was one of those songs that made me think about things back then. there had been male/female duo songs before from artists like sonny & cher but this was different. it was like real life instead of some fantasy bullshit. and it swung. sorry no clip for carla thomas only otis.

back in 1967 frank sinatra’s music wasn’t anything that particularly interested me but i could feel its strength. strangers in the night had been a huge hit in 1966. i can’t recall hearing any of the album with jobim at the time but later i came under jobim’s influence like so many others.

if i was to choose a favourite soul artist from that era it would have to be aretha.

i learnt to play chapter 22 last year. i’ve always got to remember to start it slow enough. you can play it a bit quicker but then the bass riff at the end of each verse is harder to get right. ufo?

i’m sure that if samuel johnson had been alive in the late 1960s he would have said that if a person was tired of sly and the family stone then they were tired of life. but maybe bobbie gentry would have been more his thing.

maybe i should have saved the ivor cutler track for the next mix. the beatles’ magical mystery tour was broadcast on tv in december 1967 with ivor featuring as buster bloodvessel, the bus conductor. you probably already know that.

7 rooms of gloom by the four tops was another one of those songs that seemed to open things up.

you took the dream i had for us and turned that dream into dust i watch a phone that never rings i watch a door that never rings

i must admit it never occurred to me that maybe 7 rooms was a lot of rooms for a couple. maybe there were kids too. they’re not mentioned in the lyrics.

one rainy wish was released as the b side to up from the skies. that was the only single to come from the jimi hendrix experience’s 1967 album. the next single they released was a cover of the song that closes this mix.

according to wikipedia wilson pickett’s version of funky broadway was the first charted single with the word funky in the title.

dylan has written that when he performs all along the watchtower he feels that although it’s his own song he feels like it’s a tribute to hendrix.

Granite Mix 20
title artist album
Hip Hug-Her Booker T & The M.G.’s Hip Hug-Her
Wind-Up Toys The Electric Prunes Underground
Go To Hell Nina Simone Silk & Soul
Way Back in the 1960s The Incredible String Band The 5000 Spirits or the Layers of the Onion
Bring It Up James Brown & The Famous Flames James Brown Sings Raw Soul
All Tomorrow’s Parties The Velvet Underground & Nico The Velvet Underground & Nico
Tramp Otis Redding & Carla Thomas King & Queen
Dindi Frank Sinatra & Antonio Carlos Jobim Francis Albert Sinatra & Antonio Carlos Jobim
Baby, I Love You Aretha Franklin Aretha Arrives
Chapter 24 Pink Floyd The Piper at the Gates of Dawn
Bad Risk Sly & The Family Stone A Whole New Thing
Shoplifters Ivor Cutler Trio Ludo
7 Rooms of Gloom Four Tops Reach Out
One Rainy Wish The Jimi Hendrix Experience Axis Bold As Love
Funky Broadway Wilson Pickett The Sound of Wilson Pickett
All Along The Watchtower Bob Dylan John Wesley Harding
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geology mixes music Uncategorized

miles of granite

for the xvth granite mix i decided to feature the artist who i have most recordings of, miles davis – it’s a long mix – nearly an hour and a half. instinct led me from one track to another. here’s the mix and after it the details and then some comments on the tracks.

granite 15

Granite Mix 15
Artist Title Album
Miles Davis Mood ESP
Charles Mingus/Miles Davis Nature Boy Blue Moods
Miles Davis Nem Um Talvez The Complete Jack Johnson Sessions
Miles Davis Footprints The Bootleg Series Vol. 2 Live In Europe 1969
Miles Davis Pacific Express The Complete Miles Davis at Montreux 1973-1991
Miles Davis It Never Entered My Mind Workin’
Miles Davis Swing Spring Miles Davis & The Modern Jazz Giants
Miles Davis Johnny Bratton The Complete Jack Johnson Sessions
Miles Davis The Time Of The Barracudas Quiet Nights
Miles Davis Right Off In Concert

first of all one of my favourite tracks from one of my favourite albums. esp was the first album of what is known as the 2nd great miles davis quintet which was somehow a perfect band when this was recorded tony williams was 19 herbie hancock was 24 and wayne shorter was already doing some of the best writing that was going on in the mid sixties. ron carter was writer or co-writer of 3 tracks on the album including this one and they’re all good. after that he didn’t contribute any compositions to the following 5 albums he was involved with possibly due to the fact that he was an incredibly busy musician during the period he was with the quintet playing on over 50 recording sessions for albums with other artists.

back to 1955 for a track from a session that had problems according to miles in his autobiography

something went wrong at this session and nothing ever really clicked, so the playing didn’t have any fire. I don’t know what it was – maybe the arrangements – but something definitely went wrong…

but I’ve always enjoyed this track, written by proto-hippy eden ahbez, first recorded by nat ‘king’ cole, frank sinatra recorded a version in 1948 and it’s worth recording miles’ frequent assertion that his phrasing was heavily influenced by sinatra, although also worth bearing in mind that he gave a lot of credit also in this respect to charlie christian. as in another quote from the afore-mentioned book

charlie christian influenced my approach to the trumpet and also influenced the phrasing of frank sinatra and nat ‘king’ cole

next is one of 5 versions of this tune by hermeto pascoal that have been released, 2 from a session on may 27 1970 and 3 from a session shortly after on june 3 (although one of them ended up with a different title – selim). given that there were apparently at least 19 takes on the 1st session there could be a few other versions hanging round in the vaults. ian carr doesn’t even bother to mention the 2 that were released when he wrote his critical biography of miles and in paul tingen’s miles beyond he describes them as ‘ear-grating’. much as i like the latter book i find this opinion like a lot of tingen’s other critical opinions are not worth heeding.

the 1st of 3 live recordings in the mix is a version of a wayne shorter composition – probably his most famous. in the sleeve notes (written by josef woodard) to the set that contains the track there is the following quotation from an interview 20 years later with miles

you could tell what part of the note, what part of the sound you could play off of. wayne had some different, each run had. we used to play footprints and the way we were playing it, nobody else could play it like that except for me and wayne.

it’s july again only 16 years later. this is a john mclaughlin composition that was briefly in the setlist. there was an afternoon set and an evening set on the 14th – both long sets, over 2 hours. this track is from the evening set. a week later the band similarly played 2 sets in london at the royal festival hall – i’m pretty sure i was at the 2nd set. ian carr was also there with a backstage pass and he relates seeing miles at the end of the last set

as soon as he got down the two short flights of steps and out of the audience’s sight, two large men were waiting for him, and each grabbed an arm and supported him as he suddenly sagged and almost caved in

given that wayne shorter has already featured on 2 of the above tracks you would expect me to include at least one track featuring john coltrane but sadly this has not happened i didn’t plan it that way. this is the only track in the mix which was at the period of the 1st great quintet. but on this track chosen late at night reflectively the saxophone laid out.

this comes from another controversial recording session. some reports reckoned that there was a fight between miles and monk.

…i just told him to lay out when i was playing, because i wasn’t comfortable with the way he voiced his changes…i wanted to hear space in the music…so I just told him () to come into the music a little after i played. and that’s what he did. there wasn’t any argument…monk was a gentle person, gentle and beautiful, but he was strong as an ox. and if i had ever said something about punching monk out in front of his face – and i never did – then somebody should have just come and got me and taken me to the madhouse, because monk could have just picked my little ass up and thrown me through a wall.

i love all of these tracks that I’ve put on this mix. obviously. but this is another of the great sessions. i wish monk and miles had recorded more together. listening to this session was the 1st time i heard both of them and at the time monk knocked me out more than miles. his solos seemed to come from another mysterious dimension.

and johnny bratton is the 3rd appearance of john mclaughlin in the mix if you include his composition pacific express. recorded on february 27th 1970 this is the sort of thing that some people fail to understand. here’s a good clip that deals with this subject.

from an album reviled by the man himself but which nevertheless has some great moments. this tune was also recorded on the gil evans album the individualism of gil evans and miles got a co-credit for the arrangement. in the end that is a better track but he doesn’t actually play on it and despite the history taken in isolation this is a great track and there’s something actually quite unique about it. if they’d had time and money to complete the album properly this would be a masterpiece and maybe it is anyway.

finally another album written off by various critics or in my words vastly under-rated. when i first heard it back in the early seventies i immediately thought it was brilliant. to me it was great that the instruments were all levelled out in the mix and i assumed that this was deliberately done and i still do. producer teo macero wasn’t an idiot and they wouldn’t have put the record out if they hadn’t got decent quality recordings. it needs to be listened to loud ideally through headphones. with open ears and an open mind. carlos garnett on saxophone and cedric lawson on keyboards for example maybe didn’t go on to have brilliant careers but i don’t think they let the side down at this gig.

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geology mixes music

Granite Dozen

I have finally managed to get all my digital music on one device, pretty much all anyway. That still leaves out a vast amount which is on vinyl although some of that has been digitised and is on the device though quality not brilliant. Anyway this task makes it easier for me to create a to some extent random mix and behold another exercise in granite-working.

I’ll ski on to the tracks.

Canção do Amor Demais is a beautiful album where lyricist Vinicius de Moraes and musician Antônio Carlos Jobim got Elizeth Cardoso to sing for them. A ground-breaking album from 1958 with fantastic arrangements by Jobim and I love Elizeth’s voice.

The Jon Hassell track is really just a short thing but if you want to hear more of his music here’s a link to about an hour’s music from a 7 year old gig.

Der Ruf der Rohrflöte is a very atmospheric piece. When I shove it into Google translate I find it means ’The reputation of the reed pipe’. I’ve got the DVD of Nosferatu but haven’t watched it for a while – I must soon and I will try and spot where this track occurs, it’s track 10 on the soundtrack but that may not mean anything.

On my first Granite mix which was back in December, 2011, Wayne Shorter was included with a track from this same album. It’s not my only album of his but it’s just coincidence. I’ve thought for a long time that he’s undervalued as to how great a composer he’s always been. A friend told me the other day she’d been to see him with the Lincoln Center Orchestra at the Barbican and it’s good to see that maybe he’s starting to get recognition – since he’s 82 now it’s about time.

The Sinatra song is from a film called Higher and Higher which came out in 1944. I couldn’t find a clip of him singing this song in the film but here’s a 5 minute snip and there’s another song so you get the feeling.

Granite Mix 1 also had a track from Gang Starr there’s nothing really strange about this I know but I’m still worried. Shame what happened to Guru, but Premier is still representing as you can see in this clip of his set 3 years ago.

Lani McIntyre is perhaps not as well known as some of the other artists nor probably ever will be but I certainly was happy to find this clip of him with his orchestra and a bunch of sweet dancing girls.

Robert Wyatt first started to develop the political impact of his songs and music around 1980 but the album that first drew that together, Nothing Can Stop Us in 1982 only had one song written by himself, Born Again Cretin which was his first stab at writing a political song (at least first made public). Three years later he brought out Old Rottenhat and he’d managed to crack it with some really strong material that dealt with politics in an outstanding way. The song included in this mix is just as relevant today.

Finally to accompany the last track I’ve found a lovely clip of Sooliman Ernest.

here’s the mix

Granite Mix 12
Artist Title Album
Elizeth Cardoso Luciana Canção do Amor Demais
Jon Hassell Camminavo Nella Strada Sulla Strada
Popol Vuh Der Ruf der Rohrflöte Nosferatu
Wayne Shorter Armageddon Night Dreamer
Frank Sinatra A Lovely Way To Spend An Evening Frank Sinatra In Hollywood Volume 1
Gang Starr Form Of Intellect Step In The Arena
Lani McIntyre Chimes Hawaiian Moonlight
Robert Wyatt United States Of Amnesia Old Rottenhat
S.E. Rogie Baby Lef Marah Palm Wine Guitar Music: The 60’s Sound