Old Town Records was one of dozens, if not hundreds, of small, independent record labels that sprang up in New York in the 1950s. While it had great success in New York, it had few national hits: only six Top 40 national hits in eleven years. Yet it was an interesting label, featuring soul, doo-wop and R&B music. It produced quite a number of oldies favorites including "There's a Moon Out Tonight" by The Capris and "Tonight Kathleen' by The Valentines. This list is an ongoing project; more singles will be added.
Mr. Tambourine Man is the greatest hits album by the American rock band The Byrds, originally released as The Byrds' Greatest Hits. It is the first greatest hits album by the Byrds and was released in August 1967 on Columbia Records. It is the top-selling album in the Byrds' catalogue and reached number 6 on the Billboard Top LPs chart, but failed to chart in the UK. The album provides a summary of the Byrds' history during Gene Clark and David Crosby's tenure with the band and also functions as a survey of the group's hit singles from 1965 to 1967, a period when the band had its greatest amount of success on the singles chart.
In 1969, Pharoah Sanders was incredibly active, recording no less than four albums and releasing three. The band on Jewels of Thought is largely the same as on Deaf Dumb Blind and Karma, with a few changes. Idris Muhammad has, with the exception of "Hum-Allah-Hum-Allah Hum Allah," replaced Roy Haynes, and Richard Davis has permanently replaced Reggie Workman and Ron Carter, though Cecil McBee is still present for the extra bottom sound. Leon Thomas and his trademark holy warble are in the house, as is Lonnie Liston Smith. Comprised of two long cuts, the aforementioned and "Sun in Aquarius," Jewels of Thought sees Sanders moving out from his signature tenor for the first time and delving deeply into reed flutes and bass clarinet. The plethora of percussion instruments utilized by everyone is, as expected, part of the mix.
Coursing through the cosmic pulse of Jazz-Funk is the inimitable influence of Lonnie Liston Smith. For over five decades, the legendary keyboardist and bandleader has been a driving force in shaping the genre's sound. Smith made his recording debut as a sideman for heavyweights Miles Davis, Pharoah Sanders, Gato Barbieri and Leon Thomas. He later formed his own ensemble, Lonnie Liston Smith and the Cosmic Echoes which delivered an incredible run of classic albums through the 1970s. His music has served as the foundation for immortal hip-hop samples and ecstatic dancefloor revelry. In late February 2020, Smith headlined Jazz Is Dead’s Black History Month series, giving many jazz fans what would be their last taste of live music before the nightmare of COVID-19 that took over in the weeks that followed. Now, he reunites with Jazz Is Dead to deliver Lonnie Liston Smith JID017 - a full-bloom tribute to the multitude of sonic strains that all lead back to the fingertips of the maestro himself.
What a difference two years makes! In 1963, Bob Dylan was the Ur-folksinger, rendering his protest songs in an unvarnished voice accompanied by his rudimentary acoustic guitar work. In 1965, “the voice of his generation” went electric, his more surrealistically tinged tunes now flaunting full rock 'n' roll support. The now-classic albums may tell part of the story, but to fully experience the sea change in Dylan’s style and its ramifications among his fans, you have to turn to documentary evidence.