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A gob-smacking discography, 1961-1977, including pages of labels in sumptuous colour, and marked-up whites. Top job by Jeremy Collieweed, full of love and attention.
Just a handful. Last chance!
The trio of Roland P. Young, Aisha Khalil and Glenn Howell, recorded in 1975 at 1750 Arch, in Berkeley, California.
“There was a vibe in the air that we connected with,” recalls Young, “along with other kindred spirits world-wide. What appeared to be ‘experimental’ was reaching for sounds and emotions that were unfamiliar. We often performed at rallies in support of various causes: Black Liberation, Women’s Movement, Anti-War Movement, Gay Liberation. While the music came out of the Black Liberation struggle our ultimate goal was a blending of cultures.”
‘A fascinating glimpse of the trio in action. It testifies to the energy that Infinite Sound channelled into their music, but also to their imaginative breadth and expressive versatility… with Howell’s buoyantly springy and resilient bass taking on a strong pivotal role around which Young’s horns and Kahlil’s voice dance and spar and soar and play. Well-defined rhythms dissolve into textures; melodic shapes soften into shadings of timbre or flare into exuberant bursts of tonal colour. The music’s mood swings unpredictably from flamboyance to introspection; pacing shifts spontaneously from languor to urgency. Moments of musical allusiveness, sly quotation or stylistic reference, mutate into passages of wild inventiveness.’
A second helping as sublimely pleasurable as the first, with Prince Buster, Rupie Edwards, Derrick Harriott, Dobby Dobson and Joe Higgs amongst the singers.
‘Enthralling to anyone,’ according to The Guardian.
The first official 12’ release of these two walloping classics by one of the very greatest soul singers of all time. Undimmed after forty years.
A rockers update of Bob Andy’s almighty scorcher, mimicking Marley’s yodeling vocalese for extra authority.
