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MOCCD 14138CD
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"The overlooked pianist/composer Cedar Walton (1934-2013) recorded this marvelous debut album with his band Eastern Rebellion in New York City on December 10, 1975. The currently hard-to-find Eastern Rebellion contains some inventive playing from every member of the quartet and this inspired modern jazz session is a fitting memorial to Cedar Walton. With Walton (piano) were George Coleman (tenor sax), Sam Jones (bass) and Billy Higgins (drums) playing four band originals and one John Coltrane tune. Highlights include Walton's 10-minute 'Bolivia' and 'Mode For Joe' plus a wonderful version of John Coltrane's 'Naima'. Cedar might be one of the most under-appreciated figures in jazz."
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MOCCD 14096CD
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"There It Is is another funk bomb, a classic, stuttering bass-heavy workout featuring that super sockin' hard emphasis on the one. Swiltering horns and Fred Thomas' bumpin' bass further enhance this track's superior groove. For all-out shake-your-bootie funk, Brown finally put out 'Talkin' Loud, Sayin' Nothin'', a wildebeest of a groove. There's more groovology with the stupendously pacey 'I'm a Greedy Man', with its twangin' guitars and James' and Bobby Byrds' funky harmonizing on the chorus. And then the anti-Nixon grooves of 'Talkin' Loud And Saying Nothing', coupled with two moving antidrug PSA's, the classic, jazzy 'King Heroin' and the harrowing 'Public Enemy #1'. This record offers surprises while sounding more classic than dated."
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MOCCD 14041CD
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"Tear Down The Walls(1964) mixes some (now) folk standards such as Bonnie Dobson's 'Morning Dew' and traditional songs like 'Lonesome Valley' and 'I Know You Rider'. The most of the songs belong to Fred Neil while Vince Martin brought a great deal of talent and fresh ideas to the collaboration, not to mention his association with John Sebastian (The Lovin' Spoonful) and Felix Pappalardi (Mountain). The Bleecker & MacDougal (1965) songs where much covered in the sixties like; 'Blues on the Ceiling,' (The Bintangs), 'The Other Side To This Life,' (Jefferson Airplane) and 'Candy Man' (Roy Orbison). Vince Neil was one-of-a-kind singer, with a soul-searing, gravelly voice and fingers that picked one of the meanest blues guitars in folk."
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MOCCD 14062CD
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"There are so many styles of music throughout Africa that it would be difficult for a Westerner to know where to start. This live album by King Sunny Ade would be a good place, for many reasons. What is Juju music? It is a lively style rooted in the interaction between elaborate percussion and guitars, and between the rollicking guitar lines and the grooving drums. This live performance of his North American tour brings the rhythmic sounds and electric guitars of Nigerian Juju music to your enjoyment. This is African guitar and drums at their very best, a kinetic whirlwind of rhythms that is riveting to listen to. Along with West African music here is a great recording of this modern African heritage."
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MOCCD 14060CD
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"In 1970 Bootsy Collins' funk band The Pacemakers were hired by James Brown as his backing band and they became known as The J.B.'s. In 1976 Bootsy released Stretchin' Out In Bootsy's Rubber Band', an offshoot act of a 1971-1975 Parliament-Funkadelic period, produced by funk-brother George Clinton. This was his first release with his Rubber Band. It's also one of his best albums. Stretchin' Out still stands out as a funk classic. Bootsy is not only a meritorious voice in the funk genre, his bass sounds like no one. With Bootsy on board you get the max of slammin' funk, a killer groove and all the stuff that makes you move. Bootsy ranks, IMHO as one of the three greatest bass players along with Stanley Clarke and Larry Graham."
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MOCCD 14059CD
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"Starsailor is the sixth studio album by Tim Buckley (yes, the father of Jeff Buckley) and arguably his artistic pinnacle. This is the culmination of Tim's journey into the stylings of jazz. A breathtaking album of incredible originality and creativity. Buck Gardner, from Frank Zappa's classic Mothers Of Invention plays amazing trumpet parts on this album. All the tracks are unique in their own way and deserve praise. Songs like the title track and 'Jungle Fire' among others show his vocal versatility like never before with his legendary 5 plus octave range. 'Song To The Siren' has been covered by a variety of artists, most notably by This Mortal Coil and John Frusciante. Although hardly appreciated in 1970, this is one of the truly great modern recordings."
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MOCCD 14053CD
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"The Edgar Broughton Band, founded in 1968 in Warwick, England, was one of those unique late 60's/early 70's bands having their own fanbase and a psychedelic blues-rock sound with occult tendencies. Their self-titled 1971 third album is an eclectic album that changes pace from song to song and is also known as The Meat Album containing guest appearances by Roy Harper and Mike Oldfield. They were the people's band, working man's rock and roll, who let their politics show clearly in their lyrics. Their heavily blues-rock influenced sound was hard-driven and propelled by Edgar Broughton's gritty vocal style, similar to those of Captain Beefheart and Howlin' Wolf."
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MOCCD 14019CD
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"If you are not familiar with James Blood Ulmer, you are certainly missing an important artist in your collection. This particular album is probably his best work. With Calvin Weston as one of two drummers, the music drives forward at a frenetic pace, while Ulmer dives in and out with short riffs. Irene Datcher, who sings on a few of the cuts with the gravel voiced Ulmer, has the vocal power to rise above the busy music and is a real stand out. Most impressive is the flying bass of Amin Ali! This album is not for the faint of heart. Ulmer's melding of harmonic-melodic Jazz (a la Coleman) rocks and takes some listening effort. The listener should relax and focus on James' guitar as the rest of the band comes to you like a steamroller."
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MOCCD 14024CD
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"Itaipu is a place between Brazil and Paraguay and hosts a large hydro-electric dam. This album is a work of massive proportions much like the creation of the Itaipu dam. On this work Glass makes good use of a heavy brass section combined with a large chorus and is around 40 minutes in length, spread over four movements. The extensive choral work is written in the language of the Giuranni Indians. Glass often chooses obscure languages for the effect of distance. This is a powerful pair of compositions and it is a good coupling on this recording. On the opener 'Itaipu' and the closing track 'The Canyon' the Atlanta Symphony Orchestra and chorus with Robert Shaw do a truly grand job of performance. It's a superb Glass work and a real classic of the '90s."
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MOCCD 14057CD
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"This is The Meters first album with Cyril Neville as a member. On Fire On The Bayou you'll not only find echoes of their early R&B funkiness, but also some very New Orleans songs like 'Talkin' 'Bout New Orleans', 'They All Ask'd For You', and 'Mardi Gras Mambo'. The band also gets down and funky 'Rejuvenation'-style with tracks like 'Fire On The Bayou', 'Love Slip Upon Ya', 'Can You Do Without?' and 'Liar,' which are best placed in-between on the folksy R&B 'Out in the Country' (love that chord progression) and the jazzy guitar workout 'Middle of the Road'. This album exudes the New Orleans spirit--musically as well as lyrically, extolling the virtues of great food, bayou living, and Mardi Gras."
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MOCCD 14049CD
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"The term Swamp Rock was invented for albums like this. ...Continued is Tony Joe White's second album released in 1969. Tony Joe White not only possesses an original, strong, intoxicating voice, he's a blistering singer-songwriter and musician with one foot in the blues and the other in the swamp, laying out one luscious number after another that will reach out and knock you over. Tony Joe White is a musician with an enormous fanbase among musicians of many different genres. This album features the single 'Roosevelt And Ira Lee' and his evergreen 'Rainy Night In Georgia', one of the most covered songs ever (a.o. by Ray Charles, Otis Rush, Randy Crawford, John Holt, The Gladiators). Including two bonus tracks."
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MOCCD 13892CD
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"In Concert is a live double recorded in 1972 at the Philharmonic Hall in New York City. This album brings the funk from the outstanding studio sessions that brought On The Corner, with a taste of the sonic boom captured in Agharta and Pangaea. 'Rated X' kicks off the album starting from a rhythmic babble to a swelling wave of funk, until Mike Henderson enters in the middle of Miles's wah-wah trumpet solo. Throughout the concert its Mtume's congos, Badal Roy's tablas and Khalil Balakrishna's sitar that make this album a spicy world music gumbo, another brew that Miles masterfully stirs with his trumpet."
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