Sunday, March 29, 2020

Abedul - 1979 - Nosotros

Abedul
1979
Nosotros


01. Flash 05:44
02. Ultimos Momentos 04:47
03. Walking 03:59
04. Sobre Fuego 03:27
05. The Monster and the Butterfly 04:56
06. Impresion 04:58)
07. Renacer de la Aurora 03:50
08. 84 H.D.G. 02:43

Albert Aranega - Keyboards
Narcis Baiges - Vocals
Pedro Castro - Bass
Jose L. Perez - Guitar
Lluis Visiers - Drums



Abedul is one of the forgotten and very rare bands coming from Spain in late '70's. It took , to tell the truth almost 4 years to find this album, last year in octomber it was in my hands. So, what we have here a mix of symphonic moments and some very almost discoteque sound melted with some hard rock moments in places. I like it at first listning, very uptempo in some parts and aswell a a lot of instrumental passages remind me in places of ZZTop, same drumming and same attitude, only the genre is diffrent. Is not an extrordinary album, but worth some spind from time to time. The vocal arts are ok, nothing over the top but ok, the instrumental passages are the cherry on th cake here, pieces like Ultimos momentos or Renacer de la Aurora. I will give 3 stars, a good one in my opinion, even is unnoticed and damn hard to find, this band and album desearve at least a propper consideration from time to time. Almost gone into oblivion Abedul manage to pull some reviews here and there, and that is a good thing, because like that the band will find new listners from younger generation. 3 star, good but totaly non essential.



Aaron - 1974 - Music by Aaron

Aaron
1974
Music by Aaron


01. Will You Go There With Me 4:44
02. Lovin' Woman 2:50
03. Like The Season 4:40
04. You're Coming Down 4:15
05. You're Coming Down 2:04
06. Family Circle 4:23
07. Dreamin' 4:02
08. I Hear Them Singing 4:08
09. Tims 3:37

Bass Guitar, Backing Vocals – Tommy Laughlin
Drums, Percussion, Backing Vocals [Background Vocals] – Chuck Page
Guitar, Timbales, Valve Trombone, Lead Vocals, Vocals [Background Vocals] – Cham Laughlin
Keyboards, Lead Vocals, Backing Vocals [Background Vocals] – Mark Pond



Here's another obscurity I'd like to know more about.  Unfortunately, there's next to nothing on the web about this short-lived quartet from Prince Georges County Virginia.  What little I can tell you comes from the scant liner notes on their album.  

Judging by the photos on the back cover of their album I'm guessing that these guys were still in their late teens when they recorded their sole album.  Showcasing the talents of singer/guitarist Cham Laughlin, brother/bassist Tommy Laughlin, drummer Chuck Page and singer/keyboardist Mark Pond, 1974's "Music By Aaron" was recorded at Richmond, Virginia's Eastern Studios.  Apparently a vanity project meant for distribution to family, friends and sales at local concerts, I've seen at least one on-line reference that says only 500 copies were pressed.   Regardless of the actual number pressed, this album is pretty obscure and when it shows up on dealer lists, it typically commands some pretty big prices.  Those dealer lists also tend to slap a psych label on the album.  Let me warn you that the psych content is pretty low - basically non-existent  SO if it wasn't psych, what did it sound like ?  Cham Laughlin was credited with most of the nine tracks, though all three of the other members co-wrote material.  Musically the set was impressive on at least a couple of counts.  First, the album sounded remarkably professional and well produced for such a young band.  Heard on quality headphones the album's fidelity matches lots of big ticket productions.  The album's also surprisingly diverse.  The opener 'Will You Go There with Me' has always reminded me of something out of The Marshall Tucker Band catalog.  The mid-tempo rocker 'Lovin' Woman' sported some nice jazzy keyboard and guitar moves.  Showcasing some nice harmony work, the ballad 'Like the Season' would have made a nice single.  Personal favorites - the bluesy rocker 'You're Coming Down' (though it's too bad they had to split the song between side one and two of the album) and the should've been a hit 'Dreamin''.   Yeah, it wasn't the most original set I've ever heard, but track for track these guys were impressive; even more so given their age. 

- Opening up with some tasty phased guitar, 'Will You Go There with Me' showcased the band's sterling harmonies.  Kicked along by an insidiously catchy Laughlin guitar figure, as mentioned above, musically this one sounded like Marshall Tucker trying to play a true rock song.  Great opener.   rating: **** stars 
- I've always been a sucker for funky guitar and keyboard numbers and that's exactly what 'Lovin' Woman' offered up.  Hard to imagine a skinny white guy from Virginia sounding as gritty and soulful as Cham Laughlin did on this number.  That said, there secret weapons on this one came in the form of Tommy Laughlin's hyperactive bass pattern and Mark Pond's keyboards.  Only complaint with this tune stemmed from the abrupt ending.   rating: **** stars 
- Penned by the Laughlin brothers, 'Like the Season' started out as a pretty acoustic ballad.  Nice enough, the song actually improved as it went along and more instrumentation was added to the arrangement. For what it is worth, I think Mark Pond handled lead vocals on this one.   rating: *** stars 
- 'You're Comin' Down' was a pounding, jittery, keyboard-propelled rocker.  Almost a jam track, the song had a very '70s vibe with lots of space for each member to take a solo.  The funny thing is that whereas jam tracks are just plain dull, this one kicked butt.   The only shortcoming here was that due to the songs length it was divided across the album's two sides.  A bit of better planning would have resulted in a track listing that kept the song intact.  rating: **** stars 
- An easy going, breezy ballad, 'Family Circle' was the song that initially did little for me.  Other than a nice acoustic guitar solo, the song actually struck me as coming awfully close to MOR radio fodder.  So as the saying goes - never trust your first impressions.  Over time this one's grown on me and what I initially thought was MOR 
- Opening up with some nice Pond keyboards, 'Dreamin'' was easily the album's most commercial tune.  Imagine a Chicago song written by Robert Lamm without the irritating horn arrangements ...   Another catchy melody; great hook, sweet harmony vocals, a killer Laughlin guitar solo ...  this one would have sounded perfect slotted in mid-1970s top-40 radio.   rating: **** stars 
- I'll be honest and tell you the mid-tempo ballad  'I Hear Them Singin'' was the one track I could do without.  Again, the track was nice enough, but at this point the album would have benefited from another rocker.    rating: ** stars 
- Showcasing an interesting combination of Latin percussion, cheesy synthesizer, and Uriah Heep-styled organ, the closing instrumental 'Tims' sounded like the band had spent quite a bit of time listening to Santana albums.  Quite different from the rest of the album, but very interesting.   rating: *** stars   

Most hardcore record collections are familiar with Hans Pokora's Record Collectors Dreams reference books.  "Music By Aaron" is listed in one of Pokora's books (I think it was in the fifth volume), and while it is certainly hard to find, it deserves to be listed not only for it's rarity, but because it is so damned good.  Well worth looking for ...  I'm surprised someone hasn't reissued the album. 

Cham Laughlin seems to be the member who remained most involved in music, teaching songwriting seminars and operating a sound studio in Prince Georges County, Virginia (Aaron Enterprises) where he produced albums for the likes of Jason Burton and Stephanie Tucker Little.  Sadly he died of cancer in January 2009.   

Chuck Page also appears to have remained active in music continuing to collaborate with Laughlin as a songwriter. 

Odd postscript - I owned a copy of this album for years and sold it about five years ago.  I instantly regretted selling it and kept my eyes out for a replacement eventually finding one.  The replacement album arrived on January 5th, 2012.  By odd coincidence, Laughlin died on January 5th, 2009.

Eden Ahbez - 1960 - Eden's Island (The Music Of An Enchanted Isle)

Eden Ahbez 
1960
Eden's Island (The Music Of An Enchanted Isle) 


01. Eden's Island
02. The Wanderer
03. Myna Bird
04. Eden's Cove
05. Tradewind
06. Full Moon
07. Mongoose
08. Market Place
09. Banana Boy
10. The Old Boat
11. Island Girl
12. La Mar

Bonus Track:
13. Tobago (Single)

eden ahbez: Vocals, Flute


eden ahbez — who insisted that his name be spelled without capital letters, claiming that only “God” and “Infinity” and “Love” were worthy of capitalization — might have been one of the first hippies in California, but he is probably even better known, even if you didn’t know his name, for writing “Nature Boy,”one most enduring pop ballads of the last sixty-plus years.

ahbez (sometimes just “ahbe,” and often it’s the only name used) was born George Alexander Aberle on April 15, 1908, one of 13 children in a dirt poor Brooklyn family. Most of the Aberle children were given up for adoption or sent to live elsewhere, and ahbez was taken in by a Chunute, Kansas family at the age of nine, and raised under the name George McGrew.

During the 1930s, McGrew/ahbez moved to Kansas City, Missouri, where he became enamored with the swing jazz movement. However, in between his move to Kansas City, and his appearance in Hollywood around 1941, his whereabouts and movements across the country are shrouded in mystery, although apparently he did live in New York City too, sometime during the late 1930s.

Sources on just about everything in his life differ, in fact, but we do know that ahbez eventually ended up in Los Angeles in 1941, where around the age of 33 years or so, he got a job playing piano at the Eutropheon, a health food/raw food restaurant on Laurel Canyon, owned by John and Vera Richter, from Fargo, North Dakota.

John Richter known in the greater L.A. area for his lectures about the German Naturmensch and Lebensreform life-reform philosophy, a kind of Easter religion type of lifestyle that encouraged the eating of health food (mostly raw fruits and vegetables), and only taking alternative medicine when needed, being liberated and naked (whenever possible — otherwise, they usually wore sandals and flowing white robes), having an open-minded and voracious sexual appetite (some of them were bi-sexual too), wearing their hair long and growing their beards long too, and living as close to nature as possible.

There were a group of men who worked at the restaurant who adopted this lifestyle, most of them for the rest of their lives — in addition to eden, the familiar names included Bob Wallace, Gypsy Jean, Emile Zimmerman, Gypsy Boots, Tati, Buddy Rose — and they were soon known simply around town, and particularly to the restaurant’s patrons, as “The California Nature Boys,” or often, and even more succinctly, “Nature Boys.”


Partly because they drew too much attention — and indeed they were probably the first so-called hippies in Southern California — most of them lived in the various hilltop communities above Los Angeles, in Topanga Canyon and other canyon areas, and they mostly slept outdoors, too;  in addition to living in a tree for a time, eden ahbez actually stayed in a shack located near the “L” of the HOLLYWOOD sign. (For more information on the pre-hippie movement, in Germany and Southern California, Gordon Kennedy’s Children of the Sun is essential).

According to eden ahbez’s sister-in-law Pearl Rowe, who wrote about eden in an L.A. Times Sunday feature, dated July 24, 1977, eden also “read books on Far Eastern cultures and philosophies and adopted the concept of a Universal God,” but his real passion remained music. ahbez carved his own wood flutes (which he also gave away to people freely), and he, of course, wrote songs. Great songs.

One of them was called “Nature Boy,” about a “very strange enchanted boy” who wanders around “over land and sea,” and who finally realizes “The greatest thing you’ll ever learn, is just to love and be loved in return.” One of the Nature Boys, Gypsy Boots — a vivacious character who also helped to popularize health food and yoga in the Southern California area — has for decades claimed that he, in fact, was the “Nature Boy” that ahbez wrote his song about, although it probably could have been any one of the Nature Boys, frankly. We should probably mention here that, at some point, ahbez also eventually settled down, and married a woman named Anna Jacobson, but little is known about her life.

What is known is that sometime during ahbez’s working days at the Eutropheon restaurant, he met Cowboy Jack Patton, a western songwriter and radio personality. Patton would later become a spa and health guru to the stars, but during the mid-’40s, he was a mentor of sorts to ahbez, providing financial support and advice about the record business.

It is believed that Patton thought “Nature Boy” was a perfect song for Nat “King” Cole to record, convincing ahbez that he should make every attempt to get backstage during one of Cole’s L.A. concerts and in 1947 that’s exactly what happened, at the Orpheum Theatre in downtown L.A., but ahbez was unable to meet Cole that night, and had to be content with handing Cole’s manager, Mort Ruby, a copy of the song (presumably written out as sheet music, since the song had not yet been recorded).


When Cole heard the song, he loved its haunting melody, somber harmonics and mystical lyrics, and he started performing it at his concerts. However, when it came time to record and release the song, a problem arose. No one had any idea how to get in touch with ahbez to get his permission to release the first recorded version of the song. In fact, nobody in the music business seemed to know who ahez was, and he certainly wasn’t listed in the phone book.

Eventually, they tracked ahbez down, living under the Hollywood sign, and he granted them permission. A songwriter having a song recorded by Cole might have expected a windfall, but ahbez had no plans to change his lifestyle. He and his wife continued camping outside, eating raw fruits and vegetables, and ahbez continued lecturing on street corners about the benefits of vegetarianism and the Naturmensch philosophy.

By now, though, Cole had started second-guessing releasing the song, which wasn’t like anything else he was hearing on the radio, and he had his record company, Capitol Records, sit on the recording for about a year before he finally decided to put it out as a B-side in 1948.

It was an immediate success, of course: “Nature Boy” shot to #1 on the Billboard charts, and remained there for eight consecutive weeks during the summer of 1948.


When the press caught wind of ahbez’s off-kilter lifestyle, a media frenzy ensued, and ahbez’s curious story was covered simultaneously in  Life, Time and Newsweek magazines during the summer of 1948, and ahbez finally did get the chance to meet Nat “King” Cole, during the television show called We The People.

Meanwhile, Frank Sinatra, Sarah Vaughn and Dick Hymes all released competing versions of “Nature Boy” and R.K.O. Pictures even optioned the rights to turn “Nature Boy” into a feature-length movie script, and it may or may not have inspired the late 1948 film Boy With The Green Hair (directed by Joseph Losey, and starring Dean Stockwell), which  featured “Nature Boy” throughout and ahbez’s name was amongst the first in the opening credits.

It was around this same time that ahbez’s wife Anna gave birth to their only child, a son, named Zoma.

Meanwhile, the usual songwriting royalties issues that come about when a bit hit is on the charts — songwriters often come out of the woodwork, claiming they wrote the song — came about when it was discovered that ahbez apparently didn’t have much of a head for business, and he had signed overlapping agreements with several music publishers, and each were now claiming their share of the song.

Then, ahbez ended up being sued when it turned out that his melody of “Nature Boy” was actually too similar to a Yiddish song called “Schwieg Mein Hertz” (“Be Still My Heart”), written by composer Herman Yablokoff.

ahbez had to pay a substantial settlement to its publisher. It turns out that the melody he’d said had come to him in the “mist of the California mountains” might have actually been something he’d heard back in the 1930s, when he was living in Manhattan and going to Yiddish musical theatre performances.

Apparently, Yablokoff settled out of court for $25,000, but not before having a phone conversation with ahbez, who pleaded his case for not having ripped off the melody.

In 1949, ahbez followed-up “Nature Boy” with a song he’d exclusively written for Nat “King” Cole, titled “Land of Love (Come My Love and Live with Me).” Doris Day later recorded for Columbia Records, as did the Ink Spots for Decca.

There were other recordings made from his songs, in the 50s, both 45 recordings by ahbez himself, for various labels, and by other singers too, including Herb Jeffries, “The Black Singing Cowboy,” who had been featured in several singing cowboy western films of the 1930s and ’40s.

ahbez and Jeffries would later become friends and often spent time together at Lake Shrine, the Southern California ashram of Paramahansa Yogananda, and sometime in 1948, ahbez wrote a four-page article on mysticism for Yogananda’s Self-Realization magazine. In 1954, Jeffries and ahbez collaborated on an album together titled The Singing Prophet (which included the only recording of eden’s entire four-part “Nature Boy Suite”).

ahbez would continue to record with prominent black artists throughout the ’50s, including Sam Cooke, whose 1957 recording of “Lonely Island” (released on Keen Records) would be the second (and final) ahbez composition to hit the Top 40.

By 1960, ahbez’s musical tastes were beginning to shift, away from pop and jazz and trending toward the popular exotica genre, which featured vibraphone-enriched melodies — he was also becoming interested in Middle Eastern sounds, and he could often be seen performing — at beatnik-y bongo, flute and poetry gigs — at L.A. coffeehouse like the Insomniac Café in Hermosa Beach and the Gas House in Venice Beach.

ahbez would finally get his first chance to record an album of his own songs when Bob Keane have him the opportunity to record Eden’s Island for Keane’s Del-Fi Records. The album was a conceptual affair, with Martin Denny-esque arrangements, and ahbez himself played flute and recited his narrative poems about a mystical hideaway, of which “Full Moon” is probably the best example.

The album, which suffered from Del-Fi’s distribution troubles, sold poorly, fewer than a couple hundred copies, and today that original vinyl release is considered a valued collectible.

In 1964, eden’s wife Anna died, at the age of 32, from cancer. Filmed silent footage from her funeral shows family members and friends looking on as eden sits crossed-legged by her graveside, playing a gong and reciting poetry. He took her death hard, and slipped into seclusion, often spending time out near the Palm Desert area.



When he was in town, for an infrequent music gig, he’d often drop in to visit friends, including the time he was photographed, on January 5, 1967, sitting beside Brian Wilson in a recording studio (probably Western Recorders) when Wilson was tracking a “Heroes & Villains” session for the planned Beach Boys’ Smile album.

That same year, UK folk singer Donovan is said to have tracked ahbez down in Palm Springs for what was, reportedly, a near-telepathic conversation between the two “wanderers.”

In 1971, ahbez’s son Zoma was found face down, floating in a river, at the age of 17, and ahbez slipped further into seclusion.

In fact, he was mostly forgotten until the 1993 publication of the San Francisco-based RE/Search Publications’ Incredibly Strange Music Vol. 1  book (there was also an accompanying compilation CD release around the same time), and the mention of eden ahbez’s name by a collector, Mickey McGowan, who described eden’s quite rare 1960 album as sounding like “Martin Denny had gotten together with Jack Kerouac (if Kerouac had become a hermit instead of a beat, that is).”

Renewed interest in ahbez continued to surge during the mid-90s bachelor pad/lounge & exotica revival, and in 1995, the Del-Fi label — which made a comeback as a catalog CD reissue company around the same time — put out the first compact disc version of the 1960 album, now called Eden’s Island (The Music Of An Enchanted Isle) , featuring liner notes by Domenic Priore and the author of this post (I also wrote liner notes for the subsequent CD reissue by the Collector’s Choice label in 2004).

eden ahbez died, before the release of the Del-Fi CD, on March 4, 1995, due to injuries he suffered after being hit by a car, out in Palm Desert, CA. He was 86 years old. At the time of his death, he’d been working on a book and album titled The Scriptures of the Golden Age.

Buddy Collette Septet - 1959 - Polynesia

Buddy Collette Septet
1959
Polynesia


01 Taboo 2:30
02 Flight 3:20
03 Gauguin 3:20
04 Singapore Sling 3:30
05 Polynesian Suite (9:21)
1.1 Tennin 1:18
1.2 Barbarian 1:34
1.3 Mistress 1:18
1.4 Anchorage 1:14
1.5 Corpse 0:47
1.6 Sleeping Gypsy 1:06
1.7 Room With Skies 2:00
06. Japanese Suite 5:20


Bass, Tuba – Red Callender
Cello – Edgar Lustgarten (tracks: A2 to A4), Justin Di Tulio (tracks: A1, B1, B2)
Drums – Earl Palmer
Flute, Clarinet – Buddy Collette
Guitar – Billy Bean (tracks: A2 to A4)
Guitar, Banjo – Al Viola (tracks: A1, B1, B2)
Oboe, English Horn, Bass Clarinet – Gene Cipriano
Trumpet – Gerald Wilson

Written-By – Groeg (tracks: A2, A3, B1, B2), Collette (tracks: A2, A3, B1, B2)
A.I. Groeg wrote the lyrics (all based on ancient Japanese manuscripts).


The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts, and a convicted murderer...
Issued originally in 1959 it originates from Phoenix, Arizona. The concept behind the recording was unusual -- to bring together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.
Little can be found of A.I. Groeg, but before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.
Sublime vocalist Marni Nixon, the voice of Maria in West Side Story (1961), was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration. The original LP states that "Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream." Jonny Trunk on the reissue: 'I'd first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden's Island album (1960) and occupies a similar musical space. But this album has a little more death. 
Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take."