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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh). This spectacular Afro-Caribbean/salsa opera was inspired by The Who’s rock opera 'Tommy', with a similar narrative framework (the titular character is deaf and blind, and is a fantastic conga player) but all original songs, with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez. Headed by American bandleader and producer Larry Harlow, over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa”, Celia Cruz.
Want to read more? See the full spotlight on the Fediverse at https://linernotes.club/@1001otheralbu[email protected] or on the blog: https://1001otheralbums.com/2025/12/23/orchestra-harlow-hommy-a-latin-opera-1973-puerto-rico-cuba-us/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1464282074
Happy listening!
#OrchestraHarlow #OrquestaHarlow #CeliaCruz #TheWho #Fania #salsa #AfroCubanMusic #AfroCaribbeanMusic #LatinMusic #Cuba #PuertoRico #1970s #music #1001OtherAlbums
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh). This spectacular Afro-Caribbean/salsa opera was inspired by The Who’s rock opera 'Tommy', with a similar narrative framework (the titular character is deaf and blind, and is a fantastic conga player) but all original songs, with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez. Headed by American bandleader and producer Larry Harlow, over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa”, Celia Cruz.
Want to read more? See the full spotlight on the Fediverse at https://linernotes.club/@1001otheralbu[email protected] or on the blog: https://1001otheralbums.com/2025/12/23/orchestra-harlow-hommy-a-latin-opera-1973-puerto-rico-cuba-us/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1464282074
Happy listening!
#OrchestraHarlow #OrquestaHarlow #CeliaCruz #TheWho #Fania #salsa #AfroCubanMusic #AfroCaribbeanMusic #LatinMusic #Cuba #PuertoRico #1970s #music #1001OtherAlbums
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh). This spectacular Afro-Caribbean/salsa opera was inspired by The Who’s rock opera 'Tommy', with a similar narrative framework (the titular character is deaf and blind, and is a fantastic conga player) but all original songs, with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez. Headed by American bandleader and producer Larry Harlow, over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa”, Celia Cruz.
Want to read more? See the full spotlight on the Fediverse at https://linernotes.club/@1001otheralbu[email protected] or on the blog: https://1001otheralbums.com/2025/12/23/orchestra-harlow-hommy-a-latin-opera-1973-puerto-rico-cuba-us/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1464282074
Happy listening!
#OrchestraHarlow #OrquestaHarlow #CeliaCruz #TheWho #Fania #salsa #AfroCubanMusic #AfroCaribbeanMusic #LatinMusic #Cuba #PuertoRico #1970s #music #1001OtherAlbums
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh).
Ever wondered what an Afro-Caribbean/salsa version of The Who’s 1969 rock opera Tommy might sound like?
This is a recommendation via a recommendation, as it was found in a book suggested to me on Mastodon. The book: Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes, which covers 1973 to 1977 and the half-dozen genres that emerged in NYC at that time, including salsa. This album was mentioned in the first few pages and completely stalled me (full disclosure: I started this book in May 2024 and still haven’t finished, because every time I touch it I have another 5 or 10 new-to-me artists/albums to check out).
And, while we’re at it, full disclosure, part B: I heard this album *before* hearing (or seeing) Tommy for the first time. So, I had no expectations or knowledge of how close it was to the original. And, a year and a half later, I’m not sure I can comfortably comment on this. I did listen to Tommy directly after my first spin of Hommy, but, well, was weirded out by the gross stuff in that storyline, and so I’m only getting back to Tommy for a second spin right now, as I’m typing. I think it’s safe to say though that, rather than a faithful adaptation of Tommy by any means, Hommy is more of an ‘inspired by’ work with a similar narrative framework (e.g., the titular character is deaf and blind, and is a fantastic conga player) but all original songs with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez (and without, afaik since I don’t speak Spanish, any of Tommy‘s creepy stuff).
And, as you may have guessed from the group name and title, a few more than just a quartet were involved in Hommy. Headed by American bandleader and producer Larry Harlow (aka “El Judío Maravilloso”), over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa” Celia Cruz (as Gracia Divina, cf. Tommy‘s Acid Queen), José “Cheo” Feliciano, Justo Betancourt, Junior González, Tony Jimenez, Eddie “Guagua” Rivera, Adalberto Santiago, and Pete “El Conde” Rodríguez. With such a number of musicians creating a Latin opera full of spectacular singing, Afro-Caribbean percussion, horns, and strings, you’re sure to enjoy this, whether you know Tommy (or Spanish) or not. The opera also apparently ends with pleas to the forces that be to end suffering on Earth in general and that era’s war (Vietnam) in particular, which I can definitely get behind.
Fwiw, if I had to choose between the two operas, I’d choose Hommy every time.
#1970s #AfroCubanMusic #CeliaCruz #conceptAlbum #Cuba #Fania #LarryHarlow #LatinMusic #ListenToThis #music #musicDiscovery #opera #OrchestraHarlow #OrquestaHarlow #PuertoRico #salsa
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh).
Ever wondered what an Afro-Caribbean/salsa version of The Who’s 1969 rock opera Tommy might sound like?
This is a recommendation via a recommendation, as it was found in a book suggested to me on Mastodon. The book: Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes, which covers 1973 to 1977 and the half-dozen genres that emerged in NYC at that time, including salsa. This album was mentioned in the first few pages and completely stalled me (full disclosure: I started this book in May 2024 and still haven’t finished, because every time I touch it I have another 5 or 10 new-to-me artists/albums to check out).
And, while we’re at it, full disclosure, part B: I heard this album *before* hearing (or seeing) Tommy for the first time. So, I had no expectations or knowledge of how close it was to the original. And, a year and a half later, I’m not sure I can comfortably comment on this. I did listen to Tommy directly after my first spin of Hommy, but, well, was weirded out by the gross stuff in that storyline, and so I’m only getting back to Tommy for a second spin right now, as I’m typing. I think it’s safe to say though that, rather than a faithful adaptation of Tommy by any means, Hommy is more of an ‘inspired by’ work with a similar narrative framework (e.g., the titular character is deaf and blind, and is a fantastic conga player) but all original songs with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez (and without, afaik since I don’t speak Spanish, any of Tommy‘s creepy stuff).
And, as you may have guessed from the group name and title, a few more than just a quartet were involved in Hommy. Headed by American bandleader and producer Larry Harlow (aka “El Judío Maravilloso”), over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa” Celia Cruz (as Gracia Divina, cf. Tommy‘s Acid Queen), José “Cheo” Feliciano, Justo Betancourt, Junior González, Tony Jimenez, Eddie “Guagua” Rivera, Adalberto Santiago, and Pete “El Conde” Rodríguez. With such a number of musicians creating a Latin opera full of spectacular singing, Afro-Caribbean percussion, horns, and strings, you’re sure to enjoy this, whether you know Tommy (or Spanish) or not. The opera also apparently ends with pleas to the forces that be to end suffering on Earth in general and that era’s war (Vietnam) in particular, which I can definitely get behind.
Fwiw, if I had to choose between the two operas, I’d choose Hommy every time.
#1970s #AfroCubanMusic #CeliaCruz #conceptAlbum #Cuba #Fania #LarryHarlow #LatinMusic #ListenToThis #music #musicDiscovery #opera #OrchestraHarlow #OrquestaHarlow #PuertoRico #salsa
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh).
Ever wondered what an Afro-Caribbean/salsa version of The Who’s 1969 rock opera Tommy might sound like?
This is a recommendation via a recommendation, as it was found in a book suggested to me on Mastodon. The book: Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes, which covers 1973 to 1977 and the half-dozen genres that emerged in NYC at that time, including salsa. This album was mentioned in the first few pages and completely stalled me (full disclosure: I started this book in May 2024 and still haven’t finished, because every time I touch it I have another 5 or 10 new-to-me artists/albums to check out).
And, while we’re at it, full disclosure, part B: I heard this album *before* hearing (or seeing) Tommy for the first time. So, I had no expectations or knowledge of how close it was to the original. And, a year and a half later, I’m not sure I can comfortably comment on this. I did listen to Tommy directly after my first spin of Hommy, but, well, was weirded out by the gross stuff in that storyline, and so I’m only getting back to Tommy for a second spin right now, as I’m typing. I think it’s safe to say though that, rather than a faithful adaptation of Tommy by any means, Hommy is more of an ‘inspired by’ work with a similar narrative framework (e.g., the titular character is deaf and blind, and is a fantastic conga player) but all original songs with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez (and without, afaik since I don’t speak Spanish, any of Tommy‘s creepy stuff).
And, as you may have guessed from the group name and title, a few more than just a quartet were involved in Hommy. Headed by American bandleader and producer Larry Harlow (aka “El Judío Maravilloso”), over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa” Celia Cruz (as Gracia Divina, cf. Tommy‘s Acid Queen), José “Cheo” Feliciano, Justo Betancourt, Junior González, Tony Jimenez, Eddie “Guagua” Rivera, Adalberto Santiago, and Pete “El Conde” Rodríguez. With such a number of musicians creating a Latin opera full of spectacular singing, Afro-Caribbean percussion, horns, and strings, you’re sure to enjoy this, whether you know Tommy (or Spanish) or not. The opera also apparently ends with pleas to the forces that be to end suffering on Earth in general and that era’s war (Vietnam) in particular, which I can definitely get behind.
Fwiw, if I had to choose between the two operas, I’d choose Hommy every time.
#1970s #AfroCubanMusic #CeliaCruz #conceptAlbum #Cuba #Fania #LarryHarlow #LatinMusic #ListenToThis #music #musicDiscovery #opera #OrchestraHarlow #OrquestaHarlow #PuertoRico #salsa
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh).
Ever wondered what an Afro-Caribbean/salsa version of The Who’s 1969 rock opera Tommy might sound like?
This is a recommendation via a recommendation, as it was found in a book suggested to me on Mastodon. The book: Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes, which covers 1973 to 1977 and the half-dozen genres that emerged in NYC at that time, including salsa. This album was mentioned in the first few pages and completely stalled me (full disclosure: I started this book in May 2024 and still haven’t finished, because every time I touch it I have another 5 or 10 new-to-me artists/albums to check out).
And, while we’re at it, full disclosure, part B: I heard this album *before* hearing (or seeing) Tommy for the first time. So, I had no expectations or knowledge of how close it was to the original. And, a year and a half later, I’m not sure I can comfortably comment on this. I did listen to Tommy directly after my first spin of Hommy, but, well, was weirded out by the gross stuff in that storyline, and so I’m only getting back to Tommy for a second spin right now, as I’m typing. I think it’s safe to say though that, rather than a faithful adaptation of Tommy by any means, Hommy is more of an ‘inspired by’ work with a similar narrative framework (e.g., the titular character is deaf and blind, and is a fantastic conga player) but all original songs with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez (and without, afaik since I don’t speak Spanish, any of Tommy‘s creepy stuff).
And, as you may have guessed from the group name and title, a few more than just a quartet were involved in Hommy. Headed by American bandleader and producer Larry Harlow (aka “El Judío Maravilloso”), over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa” Celia Cruz (as Gracia Divina, cf. Tommy‘s Acid Queen), José “Cheo” Feliciano, Justo Betancourt, Junior González, Tony Jimenez, Eddie “Guagua” Rivera, Adalberto Santiago, and Pete “El Conde” Rodríguez. With such a number of musicians creating a Latin opera full of spectacular singing, Afro-Caribbean percussion, horns, and strings, you’re sure to enjoy this, whether you know Tommy (or Spanish) or not. The opera also apparently ends with pleas to the forces that be to end suffering on Earth in general and that era’s war (Vietnam) in particular, which I can definitely get behind.
Fwiw, if I had to choose between the two operas, I’d choose Hommy every time.
#1970s #AfroCubanMusic #CeliaCruz #conceptAlbum #Cuba #Fania #LarryHarlow #LatinMusic #ListenToThis #music #musicDiscovery #opera #OrchestraHarlow #OrquestaHarlow #PuertoRico #salsa
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Orchestra Harlow – Hommy (A Latin Opera) (1973, Puerto Rico/Cuba/US)
Our next spotlight is on number 1039 on The List, submitted by myself (buffyleigh).
Ever wondered what an Afro-Caribbean/salsa version of The Who’s 1969 rock opera Tommy might sound like?
This is a recommendation via a recommendation, as it was found in a book suggested to me on Mastodon. The book: Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes, which covers 1973 to 1977 and the half-dozen genres that emerged in NYC at that time, including salsa. This album was mentioned in the first few pages and completely stalled me (full disclosure: I started this book in May 2024 and still haven’t finished, because every time I touch it I have another 5 or 10 new-to-me artists/albums to check out).
And, while we’re at it, full disclosure, part B: I heard this album *before* hearing (or seeing) Tommy for the first time. So, I had no expectations or knowledge of how close it was to the original. And, a year and a half later, I’m not sure I can comfortably comment on this. I did listen to Tommy directly after my first spin of Hommy, but, well, was weirded out by the gross stuff in that storyline, and so I’m only getting back to Tommy for a second spin right now, as I’m typing. I think it’s safe to say though that, rather than a faithful adaptation of Tommy by any means, Hommy is more of an ‘inspired by’ work with a similar narrative framework (e.g., the titular character is deaf and blind, and is a fantastic conga player) but all original songs with lyrics by Puerto Rican composer and singer Genaro “Heny” Álvarez (and without, afaik since I don’t speak Spanish, any of Tommy‘s creepy stuff).
And, as you may have guessed from the group name and title, a few more than just a quartet were involved in Hommy. Headed by American bandleader and producer Larry Harlow (aka “El Judío Maravilloso”), over 60 Puerto Rican, Cuban, and American musicians were in this Fania-released production, including the fabulous Cuban singer who would later be known as the “Queen of Salsa” Celia Cruz (as Gracia Divina, cf. Tommy‘s Acid Queen), José “Cheo” Feliciano, Justo Betancourt, Junior González, Tony Jimenez, Eddie “Guagua” Rivera, Adalberto Santiago, and Pete “El Conde” Rodríguez. With such a number of musicians creating a Latin opera full of spectacular singing, Afro-Caribbean percussion, horns, and strings, you’re sure to enjoy this, whether you know Tommy (or Spanish) or not. The opera also apparently ends with pleas to the forces that be to end suffering on Earth in general and that era’s war (Vietnam) in particular, which I can definitely get behind.
Fwiw, if I had to choose between the two operas, I’d choose Hommy every time.
#1970s #AfroCubanMusic #CeliaCruz #conceptAlbum #Fania #LarryHarlow #LatinMusic #ListenToThis #music #musicDiscovery #opera #OrchestraHarlow #OrquestaHarlow #salsa
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). This is the band's debut album when they existed as a Bangalore-based atmospheric/shoegazey prog rock quintet. The band has since made some big changes and is now a Germany-/UK-based duo of original guitarist Gaurav Govilkar plus trans nonbinary musician Ada Galen, with a sound closer to post-rock/-metal as heard in their 2024 release, Void. Though I had added this album to The List because prog rock from India seems to be a rather rare thing, given the last album plus other projects Govilkar and Galen are in, I'm excited to see where this band goes next!
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/07/25/self-titled-summer-coma-rossi-2018-india/Want to skip straight to the music? Here's the Bandcamp: https://comarossimusic.bandcamp.com/album/coma-rossi
Happy listening!
#ComaRossi #ProgRock #ArtRock #India #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). This is the band's debut album when they existed as a Bangalore-based atmospheric/shoegazey prog rock quintet. The band has since made some big changes and is now a Germany-/UK-based duo of original guitarist Gaurav Govilkar plus trans nonbinary musician Ada Galen, with a sound closer to post-rock/-metal as heard in their 2024 release, Void. Though I had added this album to The List because prog rock from India seems to be a rather rare thing, given the last album plus other projects Govilkar and Galen are in, I'm excited to see where this band goes next!
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/07/25/self-titled-summer-coma-rossi-2018-india/Want to skip straight to the music? Here's the Bandcamp: https://comarossimusic.bandcamp.com/album/coma-rossi
Happy listening!
#ComaRossi #ProgRock #ArtRock #India #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). This is the band's debut album when they existed as a Bangalore-based atmospheric/shoegazey prog rock quintet. The band has since made some big changes and is now a Germany-/UK-based duo of original guitarist Gaurav Govilkar plus trans nonbinary musician Ada Galen, with a sound closer to post-rock/-metal as heard in their 2024 release, Void. Though I had added this album to The List because prog rock from India seems to be a rather rare thing, given the last album plus other projects Govilkar and Galen are in, I'm excited to see where this band goes next!
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/07/25/self-titled-summer-coma-rossi-2018-india/Want to skip straight to the music? Here's the Bandcamp: https://comarossimusic.bandcamp.com/album/coma-rossi
Happy listening!
#ComaRossi #ProgRock #ArtRock #India #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). This is the band's debut album when they existed as a Bangalore-based atmospheric/shoegazey prog rock quintet. The band has since made some big changes and is now a Germany-/UK-based duo of original guitarist Gaurav Govilkar plus trans nonbinary musician Ada Galen, with a sound closer to post-rock/-metal as heard in their 2024 release, Void. Though I had added this album to The List because prog rock from India seems to be a rather rare thing, given the last album plus other projects Govilkar and Galen are in, I'm excited to see where this band goes next!
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/07/25/self-titled-summer-coma-rossi-2018-india/Want to skip straight to the music? Here's the Bandcamp: https://comarossimusic.bandcamp.com/album/coma-rossi
Happy listening!
#ComaRossi #ProgRock #ArtRock #India #selftitled #music #1001OtherAlbums
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:
- Point of origin(s): Formed in 2014 in Bangalore, India, this is the debut album from the band as a quintet of Tom Borah (vocals, acoustic guitar), Gaurav Govilkar (guitars), Udayan Kashalikar (bass, vocals), Anupam Panda (drums), and Juby Thomas (keyboards, samples).[1] Originally self-released just digitally, it was released on CD by Irish label Progressive Gears in 2019.
- Tasting notes: Atmospheric prog rock, cinematic soundscapes, hints of shoegaze, harmonized vocals, emotions, a sonic hug
- Standout track: “Transmission”, though it’s one of those albums where it’s best to listen to the entire thing.
- Where are they now?: The band made some huge changes after this album. In 2022, all but Govilkar quit. Govilkar then recruited drummer Ada Galen (fka Diane) from the UK, tweaked the direction of the band’s sound to approach post-rock/-metal, and moved to Düsseldorf, Germany in 2023. The band as a duo just released their second album last year, Void, with Govilkar filling the roles of writer and vocalist, as well as providing all instrumentation other than drums. Govilkar is also in the synth-/dream-pop duo Us and I with Bidisha Kesh, formed in 2019 and still active. Galen is an incredibly busy musician involved in many projects, including prog rock bands Prefers to Hide in the Dark (plays drums and keys, debut released 2022) and Chasmhead (vocals and drums, debut released 2024), as well as prog metal band The Great Manta (debut released in 2023).
- Websites: Bandcamp; Ada Galen’s website
Happy listening!
- I’m not entirely sure who provides drums on the album. Discogs credits Panda as does the Rolling Stone India write-up, but the Bandcamp doesn’t mention Panda and lists Bhim Kaul and Shawn Jacob as guest drummers on four tracks. ↩︎
#artRock #ComaRossi #India #music #musicDiscovery #progRock #selftitled
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:
- Point of origin(s): Formed in 2014 in Bangalore, India, this is the debut album from the band as a quintet of Tom Borah (vocals, acoustic guitar), Gaurav Govilkar (guitars), Udayan Kashalikar (bass, vocals), Anupam Panda (drums), and Juby Thomas (keyboards, samples).[1] Originally self-released just digitally, it was released on CD by Irish label Progressive Gears in 2019.
- Tasting notes: Atmospheric prog rock, cinematic soundscapes, hints of shoegaze, harmonized vocals, emotions, a sonic hug
- Standout track: “Transmission”, though it’s one of those albums where it’s best to listen to the entire thing.
- Where are they now?: The band made some huge changes after this album. In 2022, all but Govilkar quit. Govilkar then recruited drummer Ada Galen (fka Diane) from the UK, tweaked the direction of the band’s sound to approach post-rock/-metal, and moved to Düsseldorf, Germany in 2023. The band as a duo just released their second album last year, Void, with Govilkar filling the roles of writer and vocalist, as well as providing all instrumentation other than drums. Govilkar is also in the synth-/dream-pop duo Us and I with Bidisha Kesh, formed in 2019 and still active. Galen is an incredibly busy musician involved in many projects, including prog rock bands Prefers to Hide in the Dark (plays drums and keys, debut released 2022) and Chasmhead (vocals and drums, debut released 2024), as well as prog metal band The Great Manta (debut released in 2023).
- Websites: Bandcamp; Ada Galen’s website
Happy listening!
- I’m not entirely sure who provides drums on the album. Discogs credits Panda as does the Rolling Stone India write-up, but the Bandcamp doesn’t mention Panda and lists Bhim Kaul and Shawn Jacob as guest drummers on four tracks. ↩︎
#artRock #ComaRossi #India #music #musicDiscovery #progRock #selftitled
-
Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:
- Point of origin(s): Formed in 2014 in Bangalore, India, this is the debut album from the band as a quintet of Tom Borah (vocals, acoustic guitar), Gaurav Govilkar (guitars), Udayan Kashalikar (bass, vocals), Anupam Panda (drums), and Juby Thomas (keyboards, samples).[1] Originally self-released just digitally, it was released on CD by Irish label Progressive Gears in 2019.
- Tasting notes: Atmospheric prog rock, cinematic soundscapes, hints of shoegaze, harmonized vocals, emotions, a sonic hug
- Standout track: “Transmission”, though it’s one of those albums where it’s best to listen to the entire thing.
- Where are they now?: The band made some huge changes after this album. In 2022, all but Govilkar quit. Govilkar then recruited drummer Ada Galen (fka Diane) from the UK, tweaked the direction of the band’s sound to approach post-rock/-metal, and moved to Düsseldorf, Germany in 2023. The band as a duo just released their second album last year, Void, with Govilkar filling the roles of writer and vocalist, as well as providing all instrumentation other than drums. Govilkar is also in the synth-/dream-pop duo Us and I with Bidisha Kesh, formed in 2019 and still active. Galen is an incredibly busy musician involved in many projects, including prog rock bands Prefers to Hide in the Dark (plays drums and keys, debut released 2022) and Chasmhead (vocals and drums, debut released 2024), as well as prog metal band The Great Manta (debut released in 2023).
- Websites: Bandcamp; Ada Galen’s website
Happy listening!
- I’m not entirely sure who provides drums on the album. Discogs credits Panda as does the Rolling Stone India write-up, but the Bandcamp doesn’t mention Panda and lists Bhim Kaul and Shawn Jacob as guest drummers on four tracks. ↩︎
#artRock #ComaRossi #India #music #musicDiscovery #progRock #selftitled
-
Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:
- Point of origin(s): Formed in 2014 in Bangalore, India, this is the debut album from the band as a quintet of Tom Borah (vocals, acoustic guitar), Gaurav Govilkar (guitars), Udayan Kashalikar (bass, vocals), Anupam Panda (drums), and Juby Thomas (keyboards, samples).[1] Originally self-released just digitally, it was released on CD by Irish label Progressive Gears in 2019.
- Tasting notes: Atmospheric prog rock, cinematic soundscapes, hints of shoegaze, harmonized vocals, emotions, a sonic hug
- Standout track: “Transmission”, though it’s one of those albums where it’s best to listen to the entire thing.
- Where are they now?: The band made some huge changes after this album. In 2022, all but Govilkar quit. Govilkar then recruited drummer Ada Galen (fka Diane) from the UK, tweaked the direction of the band’s sound to approach post-rock/-metal, and moved to Düsseldorf, Germany in 2023. The band as a duo just released their second album last year, Void, with Govilkar filling the roles of writer and vocalist, as well as providing all instrumentation other than drums. Govilkar is also in the synth-/dream-pop duo Us and I with Bidisha Kesh, formed in 2019 and still active. Galen is an incredibly busy musician involved in many projects, including prog rock bands Prefers to Hide in the Dark (plays drums and keys, debut released 2022) and Chasmhead (vocals and drums, debut released 2024), as well as prog metal band The Great Manta (debut released in 2023).
- Websites: Bandcamp; Ada Galen’s website
Happy listening!
- I’m not entirely sure who provides drums on the album. Discogs credits Panda as does the Rolling Stone India write-up, but the Bandcamp doesn’t mention Panda and lists Bhim Kaul and Shawn Jacob as guest drummers on four tracks. ↩︎
#artRock #ComaRossi #India #music #musicDiscovery #progRock #selftitled
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Self-Titled Summer | Coma Rossi (2018, India)
Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:
- Point of origin(s): Formed in 2014 in Bangalore, India, this is the debut album from the band as a quintet of Tom Borah (vocals, acoustic guitar), Gaurav Govilkar (guitars), Udayan Kashalikar (bass, vocals), Anupam Panda (drums), and Juby Thomas (keyboards, samples).[1] Originally self-released just digitally, it was released on CD by Irish label Progressive Gears in 2019.
- Tasting notes: Atmospheric prog rock, cinematic soundscapes, hints of shoegaze, harmonized vocals, emotions, a sonic hug
- Standout track: “Transmission”, though it’s one of those albums where it’s best to listen to the entire thing.
- Where are they now?: The band made some huge changes after this album. In 2022, all but Govilkar quit. Govilkar then recruited drummer Ada Galen (fka Diane) from the UK, tweaked the direction of the band’s sound to approach post-rock/-metal, and moved to Düsseldorf, Germany in 2023. The band as a duo just released their second album last year, Void, with Govilkar filling the roles of writer and vocalist, as well as providing all instrumentation other than drums. Govilkar is also in the synth-/dream-pop duo Us and I with Bidisha Kesh, formed in 2019 and still active. Galen is an incredibly busy musician involved in many projects, including prog rock bands Prefers to Hide in the Dark (plays drums and keys, debut released 2022) and Chasmhead (vocals and drums, debut released 2024), as well as prog metal band The Great Manta (debut released in 2023).
- Websites: Bandcamp; Ada Galen’s website
Happy listening!
- I’m not entirely sure who provides drums on the album. Discogs credits Panda as does the Rolling Stone India write-up, but the Bandcamp doesn’t mention Panda and lists Bhim Kaul and Shawn Jacob as guest drummers on four tracks. ↩︎
#artRock #ComaRossi #India #music #musicDiscovery #progRock #selftitled
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Self-Titled Summer | Bad Brains (1982, US)
Our next Self-Titled Summer spotlight is on number 540 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:
- Point(s) of origin: This group first formed in 1976 in Washington D.C. as a jazz fusion band called Mind Power, with Dr. Know on lead guitar, Darryl Jenifer on bass, Paul Hudson aka H.R. on rhythm guitar, H.R.’s brother Earl on drums, and Sid McCray as the singer. When the band members got into punk rock, they switched both their sound and their name, referencing the Ramones’ song, “Bad Brain“. The band then incorporated reggae sounds into their new hardcore punk direction after seeing Bob Marley live, McCray left, and H.R. became the singer. By 1979/80, the band was banned from the major local clubs, and so, around 1980/81, they relocated to NYC. By the time this, their debut studio album, was released (on cassette only, hence also referred to as The Yellow Tape), the band was an important part of the NYC hardcore scene, and regularly played CBGB.
- Tasting notes: Hardcore punk, reggae fusion, Rastafari dub
- Standout track: “Banned in D.C.”, which is about them being banned in D.C., and the band’s debut single “Pay to Cum“, originally released in 1980.
- Where are they now?: Many of the tracks from this debut were re-recorded for their following LP, Rock for Light (1983). Bad Brains would then break up for the first time, and then would reform (and break up, and reform…) and go on to release seven more studio albums (the last one, Into the Future, in 2012), incorporating more styles into their sound including funk, soul, and heavy metal. The band has changed their line-up many times (particularly swapping out the Hudson brothers), but they are currently listed as still being active and with the same line-up as the debut s/t.
- Websites: Band website, Wikipedia
Happy listening!
#1980s #BadBrains #hardcore #hardcorePunk #music #musicDiscovery #punk #Rastafari #reggae #reggaeFusion #selftitled
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Sumé – Sumut (1973, Greenland)
Our next spotlight is on number 383 on The List, submitted by myself (buffyleigh).
As with our last spotlight, I came across this one while specifically searching for cool albums to include in The List. A year later, it remains one of my favourite finds for both the project and, well, ever.
Sumé was the first Greenlandic rock band in Greenland, making Sumut, their debut, to be the first rock album released in the Greenlandic language, i.e., their own language rather than the language of the Danish colonizers. Even without looking into what the lyrics mean, that language choice plus the intense artwork – a reproduction of a 19th century woodcutting by Aron of Kangeq that depicts an Inuit person standing over a Norseman they had just killed – clues the listener into the fact that this album was making a political statement.
In fact the album – released just 6 years before a referendum that would gain Greenland home rule and therefore greater autonomy from Denmark (who had ruled the island since 1814) – would become a key part in Greenland’s fight for independence from Danish rule. The lyrics were revolutionary, presenting the political concerns of the Greenlandic people as well as simply using their own voice and not the skewed (i.e., racist) voice of white colonizers to depict the day-to-day lives of Inuit people. Check out some snippets below:[1]
Track 1 – “Pivfît Nutât” (“New Times”)
I wake up – I’ve been sleeping for a long time
They tell me two and half days have gone by for two and half centuries
I realise that they’re still here
They are here to get rich and to oppress us
Greenland, “The Lands of the People”
You can’t keep sheltering your children from harm
New times have begun
The old days we have left behindTrack 4 – “Tamorassâriat” (“The First Bite of the Seal”)
My father is a great hunter
He arrives with a big catch
Those who want the first bite of the seal rush down to the beach
To get a good treat
The first bite of the sealTrack 7 – “Erĸasûteĸarneĸ” (“Worry”)
Always a colony
Always oppressed
Leadership missing
Makes you blind
Never turn your back and be silentTrack 10 – “Ukiaĸ” (“Spring”)
The Earth, because it’s always spinning
The great day darkens
Nature is transforming
My love is putting on her warm coat
…
The flower is already getting brown
And I learn that’s the way it is
Like my friend
Without hiding, it becomes the soil
…
That poor kayak, it loses its skin
Deteriorated by time
Naked, it becomes a skeleton
Its time has comeTrack 11 – “Nalunaerasuartaut Toĸuvoĸ” (“The Telegraph is Dead”)
The telegraph is dead
Connection failed
What is happening in the world?
Is there peace out there?Apparently 20%(!) of Greenland’s entire population bought Sumut. And it’s not that surprising as, apart from the lyrics that inspired the Greenlandic people to take political action, the album sounds damn good. Sumé’s style, fusing psychedelic/prog rock with some traditional Inuit sounds (particularly from drum dances), would have a great impact on future Greenlandic rock, which remains a huge genre in the country.
The band would release two more albums soon after Sumut (Inuit Nunaat in 1974 and a s/t in 1976), and then reunited in 1994 for one last album, Persersume. Twenty years later, following the first reissue of Sumut, Sumé – Mumisitsinerup Nipaa (“Sumé – The Sound of a Revolution“) was released, a 2014 Greenlandic documentary from director Inuk Silis Høegh that celebrates the band, the album, and their impact on Greenlandic history.
Methinks, given *all of this*, it’s a good time to give this album a spin.
- English translations aren’t in the liner notes, so these are from Genius. Hopefully they’re correct. ↩︎
#1970s #folkRock #Greenland #Greenlandic #IndigenousMusic #musicDiscovery #politicalMusic #progRock #psychedelicRock #Sumé
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Marvin Gaye – What’s Going On (1971, US)
The spotlight we're revisiting today is number 246 on The List, submitted by me (buffyleigh). This was the 2nd last art spotlight we had from Norn, published last August. This album is sadly still very relevant, the title essentially what my brain screams every day.
Since we already reposted Norn's final spotlight last weekend, this is the last one we'll be revisiting. As Norn would say, thank you for going through this process with me. 💜
To view the whole image, see the full spotlight: https://1001otheralbums.com/2024/08/14/marvin-gaye-whats-going-on-1971-us/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1538081586
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Marvin Gaye – What’s Going On (1971, US)
The spotlight we're revisiting today is number 246 on The List, submitted by me (buffyleigh). This was the 2nd last art spotlight we had from Norn, published last August. This album is sadly still very relevant, the title essentially what my brain screams every day.
Since we already reposted Norn's final spotlight last weekend, this is the last one we'll be revisiting. As Norn would say, thank you for going through this process with me. 💜
To view the whole image, see the full spotlight: https://1001otheralbums.com/2024/08/14/marvin-gaye-whats-going-on-1971-us/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1538081586
-
Marvin Gaye – What’s Going On (1971, US)
The spotlight we're revisiting today is number 246 on The List, submitted by me (buffyleigh). This was the 2nd last art spotlight we had from Norn, published last August. This album is sadly still very relevant, the title essentially what my brain screams every day.
Since we already reposted Norn's final spotlight last weekend, this is the last one we'll be revisiting. As Norn would say, thank you for going through this process with me. 💜
To view the whole image, see the full spotlight: https://1001otheralbums.com/2024/08/14/marvin-gaye-whats-going-on-1971-us/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1538081586
-
#BowieADay log entry 25.1
Before I continue with the final album, I want to take the opportunity to thank @buffyleigh for setting up a neat schedule with all the links, bonus info, further recommendations etc. So thank you 🙏
As someone who only listened to his early works, this journey helped me to understand the genius behind David Bowie.
-
#BowieADay log entry 25.1
Before I continue with the final album, I want to take the opportunity to thank @buffyleigh for setting up a neat schedule with all the links, bonus info, further recommendations etc. So thank you 🙏
As someone who only listened to his early works, this journey helped me to understand the genius behind David Bowie.
-
#BowieADay log entry 25.1
Before I continue with the final album, I want to take the opportunity to thank @buffyleigh for setting up a neat schedule with all the links, bonus info, further recommendations etc. So thank you 🙏
As someone who only listened to his early works, this journey helped me to understand the genius behind David Bowie.
-
#BowieADay log entry 25.1
Before I continue with the final album, I want to take the opportunity to thank @buffyleigh for setting up a neat schedule with all the links, bonus info, further recommendations etc. So thank you 🙏
As someone who only listened to his early works, this journey helped me to understand the genius behind David Bowie.
-
#BowieADay log entry 25.1
Before I continue with the final album, I want to take the opportunity to thank @buffyleigh for setting up a neat schedule with all the links, bonus info, further recommendations etc. So thank you 🙏
As someone who only listened to his early works, this journey helped me to understand the genius behind David Bowie.
-
Gratien Midonet – Fô Ou Tchimbi – Decision (1989, Martinique)
As randomly chosen by survey[1] on Mastodon, our next spotlight is on number 718 on The List, submitted by myself (buffyleigh).
At the beginning of this project, after we had amassed a few hundred album titles for The List and started to see where there were gaps, a few of us went searching around for gems that we maybe weren’t all that familiar with, but knew had to be included. This was one such artist I stumbled on, our only artist representing the Caribbean island of Martinique (in the French West Indies/Antilles).
I had a hard time deciding which of Midonet’s four albums to include, and still think maybe I should have picked his first, Ven en Lévé (1979). The title track of that one seems to have been an anthem of sorts for Martinique’s independence movement, and was apparently banned from French radio for 2 years. But then the second and third albums – L’Inité (1980) and Bourg La Folie (1984; a soundtrack to a since lost film by Antillean director Benjamin Jules Rosette) – as well as this one are all excellent, all highlight Midonet’s Creole lyricism, and all have their particular charms. And so, I simply went with the one that I thought would perhaps entice people to go back and check out the rest of the discography.
Anyway, if descriptions like “tropical acid folk”, “cosmic reggae jazz”, “transcendental fusion”, and “psychedelic dance” pique your interest, I would suggest you take a listen through them all. A compilation is also available, for a quick survey. Whichever you choose, it’s a good decision.
Happy listening.
- Bandcamp: Gratien Midonet – Fô Ou Tchimbi – Decision
- Discogs: Gratien Midonet – Fô Ou Tchimbi – Decision
- The survey choices that initially led to this spotlight were “He flows like the big muddy, but that’s okay”, “Pour him over ice cream”, and “for a nice parfait”, following the earlier surveys that had “Well, I don’t want no Abba Zabba”/“Don’t want no Almond Joy”/“There ain’t nothing better”/“Suitable for this boy”, “Well, it’s the only thing that can pick me up”/“Better than a cup of gold”/“See only a chocolate Jesus”/“Can satisfy my soul”, and “When the weather gets rough”/“And it’s whiskey in the shade”/“It’s best to wrap your savior”/“Up in cellophane”. The second option was the winning selection, and the survey result was translated as picking an album in The List that contained a word in the phrase – in this case, “him”, hidden in the word “Tchimbi”. ↩︎
#1001OtherAlbums #1980s #acidFolk #Antilles #Creole #CreoleSoul #funk #GratienMidonet #ListenToThis #Martinique #music #musicDiscovery #Musodon #WestIndies
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Gratien Midonet – Fô Ou Tchimbi – Decision (1989, Martinique)
As randomly chosen by survey[1] on Mastodon, our next spotlight is on number 718 on The List, submitted by myself (buffyleigh).
At the beginning of this project, after we had amassed a few hundred album titles for The List and started to see where there were gaps, a few of us went searching around for gems that we maybe weren’t all that familiar with, but knew had to be included. This was one such artist I stumbled on, our only artist representing the Caribbean island of Martinique (in the French West Indies/Antilles).
I had a hard time deciding which of Midonet’s four albums to include, and still think maybe I should have picked his first, Ven en Lévé (1979). The title track of that one seems to have been an anthem of sorts for Martinique’s independence movement, and was apparently banned from French radio for 2 years. But then the second and third albums – L’Inité (1980) and Bourg La Folie (1984; a soundtrack to a since lost film by Antillean director Benjamin Jules Rosette) – as well as this one are all excellent, all highlight Midonet’s Creole lyricism, and all have their particular charms. And so, I simply went with the one that I thought would perhaps entice people to go back and check out the rest of the discography.
Anyway, if descriptions like “tropical acid folk”, “cosmic reggae jazz”, “transcendental fusion”, and “psychedelic dance” pique your interest, I would suggest you take a listen through them all. A compilation is also available, for a quick survey. Whichever you choose, it’s a good decision.
Happy listening.
- Bandcamp: Gratien Midonet – Fô Ou Tchimbi – Decision
- Discogs: Gratien Midonet – Fô Ou Tchimbi – Decision
- The survey choices that initially led to this spotlight were “He flows like the big muddy, but that’s okay”, “Pour him over ice cream”, and “for a nice parfait”, following the earlier surveys that had “Well, I don’t want no Abba Zabba”/“Don’t want no Almond Joy”/“There ain’t nothing better”/“Suitable for this boy”, “Well, it’s the only thing that can pick me up”/“Better than a cup of gold”/“See only a chocolate Jesus”/“Can satisfy my soul”, and “When the weather gets rough”/“And it’s whiskey in the shade”/“It’s best to wrap your savior”/“Up in cellophane”. The second option was the winning selection, and the survey result was translated as picking an album in The List that contained a word in the phrase – in this case, “him”, hidden in the word “Tchimbi”. ↩︎
#1001OtherAlbums #1980s #acidFolk #Antilles #Creole #CreoleSoul #funk #GratienMidonet #ListenToThis #Martinique #music #musicDiscovery #Musodon #WestIndies
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Gratien Midonet – Fô Ou Tchimbi – Decision (1989, Martinique)
As randomly chosen by survey[1] on Mastodon, our next spotlight is on number 718 on The List, submitted by myself (buffyleigh).
At the beginning of this project, after we had amassed a few hundred album titles for The List and started to see where there were gaps, a few of us went searching around for gems that we maybe weren’t all that familiar with, but knew had to be included. This was one such artist I stumbled on, our only artist representing the Caribbean island of Martinique (in the French West Indies/Antilles).
I had a hard time deciding which of Midonet’s four albums to include, and still think maybe I should have picked his first, Ven en Lévé (1979). The title track of that one seems to have been an anthem of sorts for Martinique’s independence movement, and was apparently banned from French radio for 2 years. But then the second and third albums – L’Inité (1980) and Bourg La Folie (1984; a soundtrack to a since lost film by Antillean director Benjamin Jules Rosette) – as well as this one are all excellent, all highlight Midonet’s Creole lyricism, and all have their particular charms. And so, I simply went with the one that I thought would perhaps entice people to go back and check out the rest of the discography.
Anyway, if descriptions like “tropical acid folk”, “cosmic reggae jazz”, “transcendental fusion”, and “psychedelic dance” pique your interest, I would suggest you take a listen through them all. A compilation is also available, for a quick survey. Whichever you choose, it’s a good decision.
Happy listening.
- Bandcamp: Gratien Midonet – Fô Ou Tchimbi – Decision
- Discogs: Gratien Midonet – Fô Ou Tchimbi – Decision
- The survey choices that initially led to this spotlight were “He flows like the big muddy, but that’s okay”, “Pour him over ice cream”, and “for a nice parfait”, following the earlier surveys that had “Well, I don’t want no Abba Zabba”/“Don’t want no Almond Joy”/“There ain’t nothing better”/“Suitable for this boy”, “Well, it’s the only thing that can pick me up”/“Better than a cup of gold”/“See only a chocolate Jesus”/“Can satisfy my soul”, and “When the weather gets rough”/“And it’s whiskey in the shade”/“It’s best to wrap your savior”/“Up in cellophane”. The second option was the winning selection, and the survey result was translated as picking an album in The List that contained a word in the phrase – in this case, “him”, hidden in the word “Tchimbi”. ↩︎
#1001OtherAlbums #1980s #acidFolk #Antilles #Creole #CreoleSoul #funk #GratienMidonet #ListenToThis #Martinique #music #musicDiscovery #Musodon #WestIndies