Between a world of cancelled and postponed gigs and time spent in lockdown, 2020 has been a troubled year, but nevertheless, time marches on. Unbelievably, we’ve reached December and our traditional countdown to Christmas has begun.
The inaugural release from Strawberry Records, ‘Halcyon Days’ aims high in terms of 60s entertainment. Bringing together a great selection of mod, soul and freakbeat sides, it presents famous names alongside forgotten heroes; places cult floor fillers, deep cuts and a few genuine rarities among fantastic (and sometimes very interesting) covers of well known tunes. Across nearly 90 tracks, it sets itself up as a varied and comprehensive listen. It’s very much the kind of set tailor made for those who’ve worn out the more bog-standard mod comps and are looking for a world beyond The Action, The Creation and those much-loved Spencer Davis Group hits.
Europe’s love of progressive music has been well documented. The Italian record buying market was one of the only territories to take to Genesis before 1973 and The Netherlands’ own mark on the psych and prog genres became legendary thanks to bands like Ekseption, Trace and omnipresent yodellers Focus. Greece bore Aphrodite’s Child which, in turn, gave the world the talents of Vangelis, while the Germans’ own brand of progressive music took a much more experimental turn with Krautrock. Despite being fairly marginal from a commercial, both Kraftwerk and Tangerine Dream were taken to heart by a broad spectrum of UK record buyers in the 70s.
Despite so many different progressive subgenres breaking into the album charts from and wide, the Scandinavian contingent got far less of a look in. Sweden’s Kaipa latterly became one of the best known exports thanks to Roine Stolt’s later success with The Flower Kings and Anglagaard were loved by a few die hards, but outside of John Peel’s influence, Scandinavian prog never really found a true champion in the 60s and 70s or scored any genuine chart action.
In 1968, Capitol Records issued a selection of tracks recorded by Curtis Knight with Jimi Hendrix as the ‘Get That Feeling’ LP. These session recordings, made a few years earlier, were a deliberate attempt to cash in on the guitarist’s meteoric rise to fame over the previous eighteen months. Over the years, various combinations of those recordings made for the PPX and RSVP labels were issued as unlicensed albums in shoddy packaging, destined to fill the discount shelves of supermarkets and petrol station shops.
Issued in March 2015, ‘You Can’t Use My Name’ represents the first “Hendrix Family Approved” release of the session material. The chosen numbers allow a good insight into the range and talents of the younger Jimi, making it a worthwhile compilation.
The Beatles can arguably claim to being the most covered band in the history of recorded music. Pretty much everything they released between 1962-1970 has been covered at some time, and by bands and artists from right across the musical spectrum. Dig deep enough into the internet, you’ll even find other people reinterpreting ‘Revolution 9’, surely the most marginal of Beatles recordings. Even while the band was still active – long before being considered of any real historical importance – their work was being reinterpreted by high profile artists in a disparate range of styles. Most notably, The Beach Boys, Jimi Hendrix, Booker T. & The MG’s, Otis Redding and Elvis Presley put their own stamp on various Fab Four classics, but for every hit interpretation, several dozen others could be found languishing on cult albums and under-bought singles.