B.T. Express - Non Stop (EMI-ODEON, USA, 1975)

B.T. Express, as an abbreviation of Brooklyn Trucker Express, was a NY based funk-disco group, mostly noted for the seminal hit single "Do It ('Til You're Satisfied)" in the mid seventies. 

What we have today is his second LP. It was the very first funky record I bought and to this day, one of the best I own. I didn’t know anything about the band when I found this copy, but from the beginning I fall in love with the cover, and the extra-cool looks of the band members could not disappoint, so I decided to give it a try. When I got home and played it, I was blown away. I played it over and over (now, you know where the scratched sound comes!!) becoming a personal favorite. 

This record is an extremely well balanced sample of funky grooves mixed with top-notch disco vibes. It’s all about the rhythm and you will want to shake your booty like crazy as you revisit the seventies blaxploitation nightclub aroma! 

There’s a good dose of inspiring funky guitar licks, killer bass lines (Discotizer blows), some top-notch organ melodies, a good brass section and the always playful timbales and congas. The whole record has rhythmic funky-disco orientations except the moody and soulful cover of Bacharach-David “Close to you”. 

Every track is a winner so be careful and get away the track. This record will strike you as a heavy train.

Tracks  

A1. Peace Pipe (Sam Taylor-Mark Barkan)

A2. Give It What You Got (Solomon Roberts)

A3. Discotizer (Larry Alexander-Hirum Bullock)

A4. Still Good - Still Like It (Sam Taylor)

B1. Close to You (Burt Bacharach-Hal David)

B2. You Got It - I Want It (T. Martin-D. Thomas-B. Levine-B. Barnes)

B3. Devils Workshop (William Risbrook-Barbara Risbrook)

B4. Happiness (Carlos Ward)

B5. Watcha Think About What (Richard Thompson)

Personnel

Barbara Joyce: Vocals

Dennis Rowe: Congas, Timbales

Terrel Wood: Drums

Bill Risbrook: Sax, Flute

Richard Thompson: Guitar, Vocals

Carlos Ward: Sax, Flute, Soprano sax

Louis Risbrook: Vocals, bass, organ

*Strings arranged by Trade Martin, Randy Muller and Andrew Smith

*Strings: Irving Spice

*Mark Radice: moog and string ensemble

*Sam Taylor: rhythm guitar 


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Buddy Cole at the Pipe Organ - Pipes, Pedals and Fidelity (Columbia, USA, 196?)

Buddy Cole was a jazz pianist and orchestra leader, best known for his work as back musician with celebrities like Bing Crosby, Johnnie Ray or Rosemary Clooney. He was also a passionate organ player; recording some amazing Lp’s featuring the legendary 17-rank Wurlitzer organ. One of these sessions is the topic of today’s post. 

What we find in ‘Pipes, Pedals and Fidelity’ is a moody interpretation of standards where the theatre organ is the main and only protagonist. Just for the pleasure of hearing the aforementioned instrument heavenly touched by the maestro. And what amazes me the most is the vast range of voices, textures, layers and effects that can produce; simulating a complete orchestra and creating an extremely reminiscent atmosphere of the good old days of romantic cinema. 

Interesting to note too is the story behind the organ. As recalled in the liner notes, it was originally built for a movie theatre in Iowa, but was installed at approximately the same time that the screen began to make noise and as a result was not put to frequent use. It was returned to its manufacturers in Los Angeles, who shortly thereafter installed it in the studios of United Artists. Here it was used for radio broadcasts and for recording movie scores for a time, later being moved to a radio studio. In 1947, it was dismantled and reinstalled in the home studio of Buddy Cole, under the supervision of Henry Pope, one of America’s major organ specialists, and there it remains. I wonder where shall it be nowadays but I’m sure that after all that trot it will still be one-piece.  

Side A is pretty good though having a cut that, in my humble opinion, ruins the whole mood (‘The Peanut Vendor’) but side B is impeccable. Every track in there is a winner.  And by the way, ‘Caravan’ is dog nuts!

So, that’s a good opportunity to discover a record devoted to the memorable full-throated sound of the theatre organ, so rare to hear nowadays. 

Tracks

A1. Serenade in Blue (Gordon Warren)

A2. The Peanut Vendor (Sunshine–Gilbert–Simons)

A3. One Morning in May (Parish-Carmichael)

A4. Mine (I. Gershwin-G. Gershwin)

A5. Everytime I See You I’m In Love Again (B. Cole)

A6. Carioca (G. Kahn-Eliscu-Youmans)

B1. Caravan (I. Mills-Tizol-D. Ellington)

B2. Willow Weep For Me (Ronell)

B3. Jeannine (I Dream of Lilac Time) (Gilbert)

B4. I Get the Blue When It Rains (Klauber-Stoddard)

B5. You Go To My Head (H. Gillespie-Coots)

Personnel

Buddy Cole – Theatre Organ 

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Ibio – Cuevas de Altamira (Movieplay – Serie Gong, Spain, 1978)

Ibio is a Spanish progressive folk/rock band formed in the late seventies in the Cantabrian region. Active during the post-dictatorship period, the group has gained cult status among progressive connoisseurs because of the introduction of regional influences in the Cantabrian tradition. This led to a reformation and the recording of a new album in 2006, after 28 years of non-studio releases. 

“Cuevas de Altamira” is a heavy keyboard-driven record, featuring a mellotron - instrument which was scarce in records produced in that period in the peninsula - with a great electric guitar work. This result on the creation of very well executed symphonic prog vibes mixed with some folk rhythms. There are three tracks featuring passionate Spanish vocals, thing that, in my opinion, enriches a lot the album, providing some degree of drama. Most of the tracks time around six-seven minutes. “A lo Alto y a lo Bajo” is certainly the most traditional and festive song while the closing “La Baila de Ibio” is the most experimental and, on the opposite, “Romance del Conde Lara” is the most accessible but not least good cut. 

Highly recommended for keyboard junkies! 

Tracks

A1. Cuevas de Altamira (Mario Gómez Calderón)

A2. Romance del Conde Lara (Mario Gómez Calderón)

A3. La Virulencia del Ferrocarril (Mario Gómez Calderón)

A4. Las Chicas de Laredo (Mario Gómez Calderón)

B1. A lo Alto y a lo Bajo (Dioni Sobrado)

B2. Pastor (Mario Gómez Calderón)

B3. La Baila de Ibio (Mario Gómez Calderón)

*All tracks except the first one based on popular airs  

Personnel

Ito Luna: Drums

Dioni Sobrado: Gibson guitar and acoustic guitar

Lily Alegría: Bass and vocals

Maro Gómez: Electric piano, clavinet, synthesizer, String solina and mellotron  

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The Forerunners – Prepare the way for Jesus (Strawberry Creek Productions, 1972)

The Forerunners were a XIAN folk group formed in the late sixties. Clearly established in the vein of emerging Jesus music that popped up on that époque, this one is a very comfortable and warm listen. 

Flavored mainly with acoustic arrangements and male/female harmony vocals, the themes of this private pressed record verge upon the praise of lord. Some tracks feature some string section, producing grandeur sensations (“Prepare the way”) or even nostalgic impressions (“Where can I go”). There’s also some funky feel in “Somebody loves you” and some cheesy camp fire country in “Wood, stubble and hay”. But definitely, the most psychedelic cuts are the moody “Clouds without water” and the amazing “Thank god for” with the exquisite multi-layered vocals.

Hope you enjoy it and more light upon this great group is welcome!   

Tracks

A1. Prepare The Way (J. Bowers)

A2. Early Misty Morning (J. Gilbert)

A3. Nothing Like a Conversation (J. Gilbert, J. Bowers)

A4. God Who Is There (M. Denman)

A5. Lord (M. O. Martian)

A6. Wood, Stubble and Hay (J. Bowers)

B1. Somebody Loves You (D. Lee)

B2. Oh Heaven (J. Thompson)

B3. Clouds Without Water (P. and J. Gilbert)

B4. We’ve So Much To Thank God For (D. Reuter)

B5. Where Can I Go? (Psalm 139) (J. Bowers)

B6. Prepare the Way Reprise (J. Bowers)

Personnel

All voices and instruments performed by the Forerunners with the exception of the string accompaniment, which were written and conducted by Ted Nichols. 

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