Ashley Lowe Playboy's Busty Babes (repost)

Great album by the top Japanese jazz players of the time (Sadao Watanabe, Akira Miyazawa, Hideto Kanai, Takeshi Inomata, Eiichi Fuji…).

Great album by the top Japanese jazz players of the time (Sadao Watanabe, Akira Miyazawa, Hideto Kanai, Takeshi Inomata, Eiichi Fuji…).

While “Cowboy Outfit” has a slightly different meaning as UK Slang, Nick Lowe and His Cowboy Outfit marks a turn towards a more rootsy persona for our hero. Anchored by the international number one “Half a Boy and Half a Man”, the album introduces a tex-mex/roller-rink organ sound, although the lineup of Bobby Irwin, Paul Carrack, Martin Belmont and Lowe is essentially unchanged. Newly discovered Johnny Horton covers “Honky Tonk Hardwood Floor” and “Walk on By” (included here as bonus tracks) show that there may have been a more twangy intention to the record– but as it is full on rockers like “Maureen” and Mickey Jupp’s “You’ll Never Get Me Up (in One of Those)” rub shoulders with pop like Dusty Springfield’s “Breakaway” and Nick’s own “L.A.F.S.” (featuring the TKO Horns who had recently punched up arranger Elvis Costello’s own “Everyday I Write the Book”).

We are not in the times of 100 Club Oxford Street, The Nashville, Hope and Anchor … when a multitude of young people tried to escape from the musical prison that prevailed in England in the mid-70s, where rock stadium and virtuosity They made up the bars for a bunch of low-class misfits who just wanted to get out of the routine between paints.

Mundell Lowe's score for the exploitation flick Satan in High Heels is an immensely enjoyable collection of exaggeratedly cinematic jazz. Lowe runs through all sorts of styles, from swinging big band to cool jazz, from laid-back hard-bop to driving bop. He pulls it off because his big band is comprised of musicians as skilled as Oliver Nelson, Al Cohn, Phil Woods, Urbie Green, Joe Newman and Clark Terry. They help give the music the extra kick it needs, and Satan in High Heels winds up as a terrific set of humorous and sleazy, but well-played, mainstream jazz.