Country Funk 196975 Rar
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Rock Against Racism (RAR) was a political and cultural movement which emerged in 1976 in reaction to a rise in racist attacks on the streets of the United Kingdom and increasing support for the far-right National Front at the ballot box. Between 1976 and 1982 RAR activists organised national carnivals and tours, as well as local gigs and clubs throughout the country. RAR brought together black and white fans in their common love of music, in order to discourage young people from embracing racism. The musicians came from all pop music genres, something reflected in one of RAR's slogans: \"Reggae, soul, rock'n'roll, jazz, funk and punk\". The movement was founded, in part, as a response to racist statements by well-known rock musicians such as Eric Clapton and David Bowie.[1][2]
The first RAR gig took place at the Princess Alice pub in Forest Gate in London's East End in November 1976; Carol Grimes and Matumbi were the main acts.[11][12] At the end of the gig the bands took part in a jam, something which was to become a signature of RAR's gigs at a time when it was still rare for black and white musicians to perform together. In the same year RAR launched its revolutionary fanzine, Temporary Hoarding, going on to produce 15 issues over the next five years. By 1977 local RAR groups were springing up all over the country, including in Leeds, Birmingham, Manchester, Hull, Newcastle, Edinburgh, Glasgow, Belfast, Sheffield, Cardiff, Swansea, Bristol, and across London. Eventually there were more than 200 throughout the UK. Across the globe, several RAR groups started in the United States, in New York, San Francisco and Chicago, and also in Ireland, France, Belgium, Sweden, the Netherlands, Germany, Norway, Denmark, South Africa and Australia.[citation needed]
In the run-up to the UK general election of 1979, RAR organised the Militant Entertainment Tour which traveled 2000 miles across the country visiting Cambridge, Leicester, Cromer, Coventry, Sheffield, Leeds, Middlesbrough, Lancaster, Edinburgh, Stirling, Aberdeen, Bradford, Liverpool, Manchester, Birmingham, Nottingham, Cardiff, Llanelli, Exeter, Plymouth, Newport, and Bristol. The tour's grand finale was at the Alexander Palace in North London. Forty bands played on the tour, including: Barry Forde Band, Leyton Buzzards, The Piranhas, Stiff Little Fingers, 15, 6, 17, The Mekons, Carol Grimes, The Band, Alex Harvey, Gang of Four, Angelic Upstarts, Aswad, The Ruts, Crisis, UK Subs, Exodus and John Cooper Clarke.
The songwriting on the album is primarily down to Payton, and draws on his country music heritage. Subjects covered include close relationships, connections between people and where they live, and the pains of growing up or old, not always the same thing.
The album has blues/funk/Americana influences running through it from the get-go. Dire Straits, The Doors, Hootie and the Blowfish, the bluesier/country end of the Rolling Stones, the Felice Brothers, early Steve Earle all came to mind at different times whilst listening to this album. It has some of all of them, but it is not any of them. In other words, there is great musicianship and it is easy on the ear, because it is itself- fresh, yet grounded in country rock principles.
Among the better known songs of the album, \"Southern Nights\" was Toussaint's tribute to evenings spent with his Creole family on a porch in the songwriter's native Louisiana.[5][7][8] The song that would become Toussaint's signature song was brought to the attention of Glen Campbell by Campbell-collaborator Jimmy Webb.[5][9][10] Campbell released it on an album he titled Southern Nights in February 1977, whereupon it spent four weeks at the top of the country, pop and adult contemporary charts.[5] Toussaint's version of the song was very different from the \"cheerful catchiness and...bright, colorful feel\" of Campbell's;[2][11] AllMusic comments in its album review on the \"swirling, trippy arrangement that plays like a heat mirage\" of Toussaint's version, while The Times-Picayune remarked in 2009 on its \"strange psychedelic-swamp-water sound.\"[12] In 1994, Toussaint came out of a lengthy hiatus as a performer to record the song in duet with Chet Atkins for the compilation album Rhythm, Country and Blues.[6] Toussaint frequently performed the song in concert.
Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG) 153554b96e
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