Art Times April 2021

The Who‘s 1967 album The Who Sell Out will be reissued as a seven-disc super deluxe edition box set in April. The album was originally planned by Pete Townshend and the band’s managers (Kit Lambert and Chris Stamp) as a loose concept album with jingles and commercials linking the songs. This approach was partly because the record label were demanding a new record and Townshend felt as if he didn’t have enough songs!

Nostalgic reveries can offer a life-line after a year such as we’ve endured. If you’re needing a little pick-me-up to inspire better times, be they from the past or yet to arrive in the future, these “Halcyon Hymns” offer just the ticket. Featuring a soundtrack as lush and colorful as the Roger Dean cover art, this fourth collection from the Downes Braide Association finds the duo at the top of their game…

A quick internet search brings up some extraordinary footage of Lee ‘Scratch’ Perry producing a session at the Black Ark. Taken from the film ‘Roots, Rock, Reggae’, directed by Jeremy Marre, the sequence shows Junior Murvin collaborating with members of the Congos and the Heptones on a song improvised on the spot for the film crew. Before the vocals are recorded, the Upsetters lay down the backing track. The musical director of the session is the afro-haired bass player, Boris Gardiner; unusually, it is he who counts in the band to start each take. After a long conversation with Boris a few years back, I asked Lee about his contribution to the Black Ark sound.

American violinist Jennifer Koh’s new recording, Alone Together is based on her online performance series of the same name, created in response to the coronavirus pandemic and the financial hardship it has placed on so many in the arts community. The New York Times called Alone Together “a marvel for a time of crisis” and the lineup of composers “more inclusive than anything in mainstream classical music.”

Released in December 1970, King Crimson's third studio album, Lizard, is often viewed as an outlier in the pioneering British prog outfit's nearly half-century discography. It's not easily grouped with 1969's stunning In the Court of the Crimson King debut and 1970 follow-up In the Wake of Poseidon, and along with 1971's Islands it's considered a transitional release on the band's path toward the relative stability of the Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), and Red (1974) trilogy. Plus, the Lizard sessions were difficult and the core group lineup acrimoniously collapsed immediately afterward, as bandleader/guitarist Robert Fripp, with lyricist Peter Sinfield, continued brave efforts to save King Crimson from disintegrating as the group's lengthy history was just getting underway.