Nothing strange - almost all of the song's co-authors are Whitesnake guitarist Bernie Marsden and former Cream lyricist Pete Brown. "Royal Tea" sounds as if it had been recorded in the early seventies, or late 80s, in Britain. The result is as great as one could expect. Still it took two decades before he did the next step in the same direction-recording a British blues rock album at Abbey Road studio in London with some of the genre's leading legends on support. Starting his recording career in 2000, Bonamassa jumped up right to the forefront of the modern blues rock scene, combining American blues and r'n'b roots with British rock energy and prog complexities. Different from previous generations of American bluesmen, his influences were the British blues-rock of John Mayall and Cream, as well as early bluesy prog rockers (Jethro Tull, etc). This album is not for everyone, but those who seek the unique and unusual will find a goldmine here.Īmerican blues rock guitarist and vocalist Joe Bonamassa is probably one of the known blues-rock artists of his generation. What follows is some of the most intense moments yet as sections of dialog are layered on top of each other with plenty of yelling, cussing and racial epithets to spare. Side two opens with a couple of RnB numbers that are probably the closest to regular music that you will hear on here, but when the off-kilter sounds of “Sanra Z” enter, it sounds like the band is falling down drunk and we are back into chaos land. The band on here is no other than Earth Wind and Fire making one of their first appearances and playing a lot of old school funk and soul that sounds nothing like the slick sophisticated style they would develop later in their career. This side ends with a relentless jazz funk workout. “Running Song” is a fast paced jazzy rock groove with Sweetback saying over and over to his feet and legs to get moving as he runs from the law. There is plenty of noise interspersed as this soundtrack builds a hallucinogenic inner city nightmare of confusion. Side one opens with main character Sweetback answering a gospel choir acting as a sort of ‘Greek chorus’ letting him know what he is up against if he takes on ‘the man’. Any collector of the unusual and the bizarre in music ought to check this one out. No, this one is not for the timid, and if played loudly in a dark room, it can be downright intimidating. This is a very intense album, almost avant-garde in places when snippets of dialog overlap with gun shots, police sirens, snarling dogs, yelling, screaming, pure chaotic noise, sexual climaxes and gospel choirs. Much of this album features sounds, jarring noises and dialog from the movie, not just music.
Whereas some soundtracks can stand alone musically with plenty of songs that you can listen to apart from the movie, not this OST.
Jeff lorber fusion jamal the moroccan movie#
A controversial movie when it was released in the early 70s, “Sweetback” is considered one of the first of the “blaxploitation” genre and the first film to feature a militant African American man in confrontation with the authorities and succeeding. And that makes me say "Rough and Ready" is a wrong album.Īn intense movie deserves an intense soundtrack, and that’s what we get with “Sweet Sweetback’s Badass Revenge”. But that leaves me very bitter in my mouth. In my head, although "Rough and Ready" is certainly a good album.
Musically I think that "Rough and Ready" is more interested in an audience open to certain contaminations of Progressive Soul and certainly Blues Rock than a Jazz audience, although it is, in truth, a Jazz Rock album with various digressions in other musical genres (and well blended). Only that POP component does not help to understand this choice.And today it also destabilizes the fact that the next album, "Jeff Beck Group", is a really beautiful and compelling Blues Rock album and more in line with what Jeff Beck was known for. But it is equally true that here, in this "Rough and Ready", he drastically breaks with the past to devote himself to a sort of POP Jazz Rock that has Soul and Funk moments that I don't mind at all. It must be said that Jeff Beck was a fantastic innovator and without him there would be no Heavy Metal. Bob Tench is too underrated a singer and bassist, Clive Chaman, is certainly no fallback. Also here plays Max Middleton, one of the best keyboard players of that era. I can't find a true identity for this second Jeff Beck Group.I know it's common thing but I'm a Cozy Powell fan and Jeff Beck is one of my favorite guitarists.
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