Hugh Masekela - The Sound Of Silence album flac
|A||The Sound Of Silence||3:40|
- Producer – Tom Wilson
- Written-By – Paul Simon
NotesMisprint with the labels for 'The Sound Of Silence' pressed on both sides.
|K13901||Hugh Masekela||The Sound Of Silence / Norwegian Wood (7", Blu)||MGM Records||K13901||US||1967|
|K13901||Hugh Masekela||The Sound Of Silence / Norwegian Wood (7", Promo)||MGM Records||K13901||US||1967|
The Sound of Silence - Peter Hollens feat.
The Sound Of Silence. Simon & Garfunkel - Wednesday Morning, 3 .
In 1966, South African trumpeter Hugh Masekela included the song to his album Hugh Masekela’s Next Album. In 1967, Jamaican reggae bands The Soul Vendors and The Gaylads recorded a cover of the song. Mercy released a version of the song on their 1969 album, Love Can Make You Happy. In 2010, the duo Peixoto & Maxado recorded a smooth ska version of The Sound of Silence on their album I Wanna Shoyu. In 2011, Phil and Tim Hanseroth covered The Sound of Silence on Brandi Carlile’s album Live at Benaroya Hall with the Seattle Symphony.
Sounds of Silence is the second studio album by Simon & Garfunkel, released on January 17, 1966. The album's title is a slight modification of the title of the duo's first major hit, "The Sound of Silence", which originally was released as "The Sounds of Silence". The song had earlier been released in an acoustic version on the album Wednesday Morning, 3 . and later on the soundtrack to the movie The Graduate.
Masekela was an old collaborator of Abdullah Ibrahim. He is reported to have been initially inspired in his musical growth by Trevor Huddleston, a British priest working in the South African townships who financed Masekela's first trumpet. Masekela played his way through the Sophiatown scene with The Jazz Epistles and to Britain with King Kong, to find himself in New York in the early-1960s. He had hits in the United States with the pop-jazz tunes "Up, Up and Away" and the number one "Grazin' in the Grass".
Hugh Masekela, 66, sings and plays his horns on Revival with the same spirit that drove his worldwide commercial success nearly forty years ago. His flugelhorn and cornet still have that smooth sound: a bit frail, but always filled with seamless phrases that bounce fluidly along a trail that's easy to latch on to. This time out, he sings the lead vocal part in a concert that folds in South African elements of a contemporary nature. Throughout much of the album, however, the trumpeter's tone and emphasis remain weak. His vocalist guests take center stage, as Masekela weaves in cornet and flugelhorn melodies behind them. The full force of his flugelhorn tone remains hidden and a bit off the mark. This revival of South African music does not revive his tone and technique.
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