Boogie

While Ace's previous Hadda Brooks disc, Romance in the Dark, concentrated on her excellent mellow vocal sides, it left the instrumental boogie-woogie aspect of her musical talents unexplored. Swingin' the Boogie corrects that with this amazing release. Brooks recorded many of these tunes for the Modern label, initially released on 78s. Often after the "official session" concluded, there was still studio time available. In these instances, Brooks would pound out amazing boogie-woogie tracks for kicks. Swingin' the Boogie is the first disc to focus entirely on that output. Among the 18 tracks, six were previously unissued, and it includes the rare original flip side of "Swingin' the Boogie," "Just a Little Blusie."

When Light In The Attic released Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. Pacific Breeze included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

While some purists would like to compartmentalize boogie woogie into a nice, neat box as strictly a form of piano blues, this 18 track collection clearly demonstrates that the form lends itself to a wide variety of treatments. Tracks like "Baby Boogie Woogie" by country picker Curley Weaver, "Boogie Woogie" by Delta Cum. Detroit bluesman Calvin Frazier and jazz visionary Art Tatum's "Tatum Pole Boogie" do much to support that claim, as does the inclusion of tracks from Red Saunders, Adrian Rollini and Harry James. Much of the material reprised here comes from one of the very first Columbia 78 RPM 'albums, ' a collection of boogie woogie classics produced by John Hammond, the man who brought the music into national vogue in the late 30s by simply letting giants like Albert Ammons, Meade Lux Lewis, Pete Johnson and Big Joe Turner do their thing…

When Light In The Attic released Pacific Breeze: Japanese City Pop, AOR & Boogie 1976-1986 in 2019, it was the first collection of its kind to be released outside Japan. It proved to be just what music fans had been waiting for—a compilation of sought-after tracks that had been nearly impossible to obtain unless you were well-connected with dealers and collectors, or traveled regularly to the countless record stores in Japan. Pacific Breeze included Minako Yoshida, Taeko Ohnuki, Hiroshi Sato and Haruomi Hosono among other key players of ‘70s-’80s Japanese City Pop, the nebulous genre that encompassed an “amalgam of AOR, R&B, jazz fusion, funk, boogie and disco, all a touch dizzy with tropical euphoria,” as we described it the first time around.

Canned Heat 1967-1976: The Boogie House Tapes is a double-disc set, assembled by drummer Adolfo de la Parra, the only remaining member of the original '60s band, and Canned Heat collector Walter de Paduwa; it's a compilation of some previously "lost" studio and live performances of the indefatigable boogie band. While hardcore fans will rejoice hearing the great Alan Wilson, who appears on roughly half of these tracks, in his prime, it's still a very mixed bag. Guitarists Harvey Mandel and Henry Vestine are featured prominently, as is vocalist Bob "the Bear" Hite who, along with drummer de la Parra, is the only constant band member across these two CDs.

In his powerfully insightful book of blues-inspired poetry Fattening Frogs for Snakes - Delta Sound Suite, John Sinclair cites blues and jazz scholar Robert Palmer as a source for the theory that the linguistic taproots of the word "boogie" probably reach back to West Africa, as the Hausa "buga" and the Mandingo "bug" both mean "to beat" as in "to beat a drum." This makes sense given the rhythmic potency of boogie-woogie, a style that emerged during the early 20th century among Southern black laborers who lived, toiled, and partied near the very bottom of the U.S. social hierarchy, usually living in an environment that was secluded from the rest of the population and often engaging in the production of turpentine…

Canned Heat's second long-player, Boogie with Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet – consisting of Alan "Blind Owl" Wilson (guitar/harmonica/vocals), Larry "The Mole" Taylor (bass), Henry "Sunflower" Vestine (guitar), Aldolfo "Fido" Dela Parra (drums), and Bob "The Bear" Hite (vocals) – follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" – which became the combo's first, and arguably, most significant hit – as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite's update of Tommy McClennan's "Whiskey Headed Woman".

16 rare cuts selected by Miles Cleret and DJ Okapi - available for the first time on vinyl outside of their original release!

Some bands just keep on truckin'. Check out Canned Heat, closing out the millennium with a new album of new material. This is a good title for the album because since forming 33 years ago, the band is still going on fusing boogie rhythms with rock instrumentation. Still, there is plenty of variety here. On "World of Make Believe" they go halfway to meeting Santana and on "Dark Clouds" they recall Willie Dixon.