Davy Jones 1945-2012

by admin  4th Jul 2012 Comments [340]

David Thomas “The Manchester Cowboy” Jones’ first love was jockeying, a fitting choice for the height-challenged heartthrob, until the stage called him. A later American promo tour for Oliver! fated him with the divinity to appear on the Ed Sullivan Show the monumental date of February 9, 1964. From side-stage a teenaged Jones was bewitched by the Beatles making their American debut and found truly what pie he was a piece of.

Of the Monkees remarked Davy they were a “good garage band,” and perhaps that’s what endears them to UT readers, even those not hip to poppin’ bubblegum. While some of the Prefab Four later divorced themselves from the entity due to its synthetic, machine-made product value, Jones trudged along living and singing the hell out of those hits until he tragically left us. Those inescapable jams of childhood made me a believer, and I shall be to until the day I expire. Godspeed, King of the Wild Tambourine.

Below Michael Lynch pours his Monkee-lovin’ heart out, and a playlist to partake in compiled from Michael’s references and a few of my own.  (jeremy nobody, esq.)

 

The short Monkee. The English Monkee. The cute Monkee. The one who got the girls. The one who played tambourine. The one who later called on Marcia Brady. However people remember Davy Jones, the point is, everybody will remember him.

An all-around entertainer, Davy already had racked up some success as an actor before Screen Gems made a Monkee out of him, most notably his Tony-nominated portrayal of the Artful Dodger in the Broadway production of Oliver! The success of Oliver! led him to try milking his teen appeal through American television guest spots (Ben Casey and Farmer’s Daughter) and, of course, records. 1965 yielded an album, David Jones, and three singles for Colpix, only one of which (“What Are We Going to Do”) charted, and at only #93. His luck changed that autumn when he was chosen as one of the stars of an impending sitcom about “four insane boys.”

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HOWLIN’ WOLF – This Is Howlin’ Wolf’s New Album

by admin  26th Jun 2012 Comments [623]

(Get On Down) LP/CD

The Wolf said, “These electric guitars, they got them queer sounds,” and the full name of this funky, fuzz-filled fantastic footlong is This is Howlin’ Wolf’s new album. He doesn’t like it. He didn’t like his electric guitar at first either. This LP’s the famous financial folly (along with Muddy’s Electric Mud) by Marshall Chess on his Cadet imprint, trying the youth turn-on via throwin’ the roots in the sketch, with fruits like Hendrix in the foreground. The blues purists slagged it, but like much of producer Charles Stepney’s work, was later embraced by hip-hop producers and diggers of all stripes.

BUT, when speakin’ on this mess-terpiece the cast of cats adept in jazz, blues and soul that form the group is generally left outta the equation. This psychedelic solid-sender carries no less than four guitarists (Phil Upchurch, Pete Cosey, Roland Faulkner), including long-time sideman and geetar goliath Hubert Sumlin. The funky, frisky and free rhythm section, Louis Satterfield (bass) and Morris Jennings (drums), along with Upchurch carried backup duties for many Chess, Cadet and outside artists including Terry Callier, Jimmy Reed, Donny Hathaway’s debut, Shel Silverstein, Curtis Mayfield and the Rotary Connection; while Cosey did time in the wild mid-‘70s with Miles Davis amongst others. The fevered flights are handled with finesse by this fab group and never descend into overwrought jamminess, while not kid-glovin’ the Wolf classics but bringin’ a new light to ’em. The “Back Door Man” hisself also shines migh-tee brightly on the insistent-grooved, reverb-drenched track this sentence began with; the plaintive, slinky “Little Red Rooster” and the wah-wah’ed stutter funk of “Down in the Bottom.”

The fave-rave of the platter is the haunting, backwoods electric burn take of “Moanin’ at Midnight,” where you could hear crickets off in the distance if the amps were turned down a notch or two, but this whole disc begs repeated listens. So, if you’ve got an appetite for the wild, untamed and raucous, pick up this platter that matters! (jeremy nobody, esq)

 

(Originally published in Ugly Things #33, Spring/Summer 2012)

 

 


Pete Cosey 1943-2012

by admin  26th Jun 2012 Comments [1869]

By Eric Colin Reidelberger

 

Few guitarists are more underappreciated than the big man, Pete Cosey. An incomparable aural trailblazer and avid woodshedder who blew the doors off every entrance he made. As a wide-open player who employed many musical “systems” (as he called them) he preferred bridges to barriers and played with jazz, country, frat rock and blues bands alike, when that practice was purely unheard. He was a session man, manipulator of chord progressions and such a wild experimentalist that Miles Davis once told him that he “…wrote differently than anyone he’d heard.” It’s with hope that there are more extant sides to arrive from this mountain of a man, both physically and as an institution. Below Sir Eric Colin gives lip service to the man’s history and prowess, plus I’ve included a playlist of some of Cosey’s contributions. What’s your fave-rave? (jeremy nobody, esq.)

 

 

Pete Cosey’s name might not have been at the tip of everyone’s tongue, but if you owned any records on the Chess label from the late ’60s or dug your heels into any of Miles Davis’ grand wigouts, then chances are you are probably familiar with his handiwork. A sonic adventurer that boldly went where only a few dare tread, finding the continuity between Jazz, Funk and Psychedelic Rock and trailblazing his own pathway to the nether regions.

Born in Chicago, Illinois, in 1943 and after living his teenage years in Phoenix, Arizona, Pete cut his teeth as a session player in the ’60s/early ’70s back in Chicago for Chess Records. He played on numerous sessions (often uncredited) by artists such as Etta James, Chuck Berry, Gene Ammons, Sonny Stitt, Rotary Connection and the polarized electric periods of both Howlin’ Wolf and Muddy Waters. Adding a surfeit of effects, including a wonderful preponderance of wah-wah/fuzz acrobatics, Pete managed to completely horrify blues purists in one fell swoop, and gather quite an audience of heads who would go on to champion his bold explorations in the years to come.

Cosey was a truly inventive and original player who was obviously influenced by Hendrix’s stylings, but taking the proceedings into an almost unhinged free jazz territory akin to similar giant steps taken by fellow traveler Sonny Sharrock. He was an embryonic member of Chicago Afro Funk behemoths The Pharoahs who later became the seeds of Earth, Wind & Fire, as well as exploring some spiritual journeys with Philip Cohran. Pete is best remembered for the four albums he played on under Miles Davis’ solid-band leading hand: Get Up With It, Pangea, Agharta and Dark Magus.

It is here and in such stellar company that his creative being was given the proper chance to flourish; often pushing the music (and perhaps) the musicians into fever pitch territory.

After the breakup of the Miles band in 1975, Pete kept a relatively low profile, only rearing his head here and there in the years afterwards, most notably playing on the title track to Herbie Hancock’s Future Shock. On May 30, 2012 in Chicago, after complications with surgery, the world lost yet another major musical talent who really wasn’t given the proper credit of the true sonic pioneer he was.

From our current issue, Ugly Things #33,  jeremy nobody, esq. reviews one of the grand experiments Cosey contributed to: This Is Howlin’ Wolf’s New Album: http://ugly-things.com/reviews/albums/