TWO LANDMARK GUITAR releases, both solo debuts, came along within a few months of each other in 1968 to open my youthful ears and blow my 14-year-old mind. And yet, one so completely overshadowed the other as to render it to relative obscurity. I’m referring to the near-simultaneous releases of Jeff Beck’s Truth, which came out on July 29 of that year, and Harvey Mandel’s Cristo Redentor, issued that November.
Beck, of course, was already famous, having succeeded Eric Clapton in the wildly popular Yardbirds in 1965 and appeared with the band the following year in Michelangelo Antonioni’s film Blow-Up. He also had major-label backing for his solo debut, courtesy of Epic Records. Mandel had already put in his time on Chicago’s active blues scene, making his recording debut in 1966 on Barry Goldberg’s Blowing My Mind and appearing on 1967’s Stand Back! Here Comes Charley Musselwhite’s Southside Band, a seminal recording that, along with the Paul Butterfield Blues Band’s East-West released that same year, bridged the gap between blues and rock and roll. Harvey’s solo debut on the smaller Dutch-American Philips Records — the same label that had released albums by Edith Piaf, Jacques Brel and the Singing Nun — simply did not have the visibility or promotional muscle to compete against a major-label juggernaut like Epic.
هذه القصة مأخوذة من طبعة July 2023 من Guitar Player.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة July 2023 من Guitar Player.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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