…They also had some impact in jazz circles, though they weren't as significant as the Afro-Latin revolution initiated by Mario Bauza, Machito and Chano Pozo. Olatunji resurfaced in the late '80s on the Blue Heron label with The Beat Of My Drum, a release featuring a 17-piece band that included Carlos Santana and Airto Moreira. He subsequently recorded more sessions for Rykodisc, including a digital remix of "Drums of Passion." In 1997, He recorded and released Love Drum Talk for the Telarc label. In April of 2003, Babatunde Olatunji passed away after a lengthy struggle with diabetes.
It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits – Blondie had been reaching the Top Ten for two years running – but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop – girl group harmonies, to be sure, but surf-rock echoes throughout – but filtering it through the nervy energy of punk.
While not a universally praised piece of the Art Blakey discography, The African Beat is quite engaging. Yusef Lateef is the only horn player, featured on oboe, flute, tenor sax, cow horn, and thumb piano with Ahmed Abdul-Malik on bass, but trombonist Curtis Fuller is only heard playing tympani – it was that kind of session. The drum ensemble includes Chief Bey, along with five other percussionists on conboro, log, and bata drums with penny whistles, gongs, congas, and African maracas. This is reminiscent of Lateef's more exotic sessions from the same time period, but quite unlike other Blue Note releases from the early '60s.
Hurt & the Merciless is the fourth studio album by English rock band The Heavy, released on 1 April 2016 through Counter Records and the Bad Son Recording Company.
Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel."…
Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries." (…)
German band formed in early 1960's, previously known as the Skiffle Lords. Known for their fashionable attire and 'Prince Valiant' style haircuts. By 1964 they were awarded the title "The German Beatles" in Hamburg's Star Club of Germany. Currently still active, released a new CD album in 2015 titled "Now More Than Ever!" Although Germany had its place in rock & roll's evolution in the 1960s, it was primarily as an incubator for British bands playing grueling stints in Hamburg, not for homegrown talent. The Lords were about the best of a weak scene, populated by bands that could never seem to shake themselves free of stodgy Central European oom-pah folk traditions…