Beatles Revolver 1966

Re-Releases Review

                                     

    

Let me start by saying that this record changed my life. I started collecting vinyl at around 7.  I have quite a few records that say Rhett Taylor 3^rd grade. While everyone else was at recess, I’d be listening to records I had brought in on the film projector record players. This was one of them. I grew up in a religious farming community in North Central Florida.  I would play this and other records when I was 7 and up on an old Magnavox sound system that I would point the speakers facing out of the open windows to the people who was working on the neighboring farms. Nothing used to thrill me more at 8 wondering if “Tomorrow never Knows” moved them like it did me.  . I was so let down when I realized that people did don’t have the same passion as I did towards the song. Little did I know at the time that the lyrics were inspired by the Tibetan Book of the Dead. That being said, I love this record. It was the single most important record starting my musical journey.

Released in 1965, it consisted of fourteen tracks. The engineering of the album makes it one of the most experimental recordings in Pop history. Much of the instrumentation is channeled through the left side while the voice is on the right. Throughout it, there is lots of playful panning of sound effects and the like. The album was produced by George Martin who did most of the engineering. Revolver was the first time that the Beatles used the studio as a type of instrument.

The opening track “Taxman” written by Harrison is one of the best album openers of all time. “Taxman” leads the way to let listeners know George Harrison isn’t sitting on the side lines on this album. The Rest of the album is pure early psychedelic magic.  Musically, all the members of the band play on this album some of their best playing and innovation ever. This album is also heavily influenced by their new found interest in Indian culture. Again, this is one of my favorite albums of all-time.     Rhett Taylor

The video above is "Tomorrow Never Knows" 

Iron Maiden - Hallowed Be Thy Name (live)

                                    






                            One of the greatest heavy metal songs ever- Eddie Rocks

Tiga - “Bugatti” (Official Video)

                      

Well that was an interesting video

Neu! - Negativland

                   
was a German krautrock band formed by Klaus Dinger and Michael Rother after their split from Kraftwerk in the early 1970s. Though Neu! had minimal commercial success during its existence, the band is retrospectively considered one of the founding fathers of krautrock and a significant influence on artists....(WIKIPEDIA). An Amazing Song . One of my Favorites.

Miles Davis Live Evil 1971

one of my favorite album covers. This is mainly a test to mess with alt tags but here's song anyway "Sivad"

Karl Hector and the Malcouns -"Sahara Swing" 2008

My first post is an album that came out a while back that I already did a review on. Taking the lazy way to start.




 
                                  

Hooray for the Afro-Funk! This gem of Afro-funk sweetness comes to us from Munich, Germany of all places. Karl Hector and the Malcouns has elements of Fela Kuti, James Brown, Sun Ra, Martin, Medeski and Wood and 70’s Miles Davis, to name a few, all rolled up in one. As it is becoming more common for non-Africans to create African music, Karl Hector has shown us that as long as we tap into the rhythm of ‘the one’, it really doesn’t matter. Released on Now and Again Records, ‘Sahara Swing’ (released 2008) continues somewhat in the afro-beat tradition but shows its ability to keep evolving. Karl Hector was the leader of the band the Funk Pilots and had only recorded on one 7 inch in 1996. He and has teamed up with The Malcouns (Thomas Myland and Zdenko Curulija). Myland and Curulija have worked on Berlin Serengeti, Watou Records and with the Poets of Rhythm/Whitefield Brothers.

While it is intertwined with the cosmic realm of pyschedelia, ‘Sahara Swing’ is a must for any fan of Fela Kuti and the Afro-beat style. There are plenty of funky polyrhythmic things going on here with slightly eerie bubbly sounds and organic tones mimicking nature.  ‘Followed Path’ has a great organ with an off-kilter spacey brass section. During the song there is a saxophone that plays in the styles of Pharaoh Sanders and James Plunky Branch. On ‘Debere’, there are very hip other-worldly keyboards going on, somewhat reminiscent of Sun-Ra. On the track, ‘Jabore Pt. 3’ we hear a slower groove dabbled in exotica.   The title track ‘Sahara Swing’ has a weird funk jam that is somewhat reminiscent of some Martin, Medeski and Wood. On ‘Psycles’ there is a driving funk bass while all kinds of sounds are added and then taken away to create a cool flow. There can be traces of Miles Davis’s Dark Magus heard here as well as on the track ‘Mystical Brotherhood’.  ‘Koloko Pt. 1’ is full of wah-wah guitar and tight funky brass. The pieces Transition >I<, >Z<, >B< & >W< are relatively short but very cool nevertheless. Probably my favorite track is “Nyx’, this is just one funky piece!

The audio engineering and the album art on this album is also to be noted. There is some great panning on some of the tracks and the album art is just awesome. All in all, this is a solid album made by superior musicians with not a bad track on it. It consists of twenty tracks at around 45 minutes. (That’s really the main drawback-too short and could have a few longer jams) While this album sounds as it would not be out of place in the early 70’s, it is more of homage to the early Afro-funk. I would rate this 4 out of 5 stars. Although this might not be for the average listener, the average listener would probably still enjoy this. To fully enjoy this great piece of music, it should be listened to in its entirety. I definitely look forward to any next projects done with these musicians. Well Done!       Rhett Taylor