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.
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.
In some ways, Tasmin Archer’s work seems like an odd choice to be given the priority box set treatment. For many years, her best selling debut ‘Great Expectations’ was somewhat of a charity shop staple and, indeed, the original album has often obtainable for little more than a few copper coins on the internet’s second hand market. In addition, Archer’s time at the top seemed so brief when compared to some of the other pop heroines of the age. Then again, perhaps Archer’s fleeting moment of genuine stardom makes her the ideal candidate for such a reissue package. For most, she’s only really known as the lady who sang ‘Sleeping Satellite’ – a soul-pop #1 hit that seemed to take on an omnipresent annoyance – but as this set shows, she wrote and recorded better songs during her first few years of stardom. Much stronger and more interesting material than her once hugely popular hit would have you believe.
It’s been less than a year since Strange Majik released their politically charged ‘Channel T’ album, but the ever-prolific David Pattillo and his crew are back with new material.
A collection of songs that melded jazz melodies with swathes of contemporary soul, Eleni Drake’s debut EP ‘Blue’ had a lot of crossover potential and was a release that lent itself well to evening listening. With a lot of the music straddling the kind of sounds you might find during the softer parts of a Solange Knowles record and the laid-back electronica of Zero 7, it seemed so contemporary for the time of release and promised well enough for a potential follow up.